



Book_AZ4iX^£l 



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CORfRIGHT DEPOSm 



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BY 
CONSTANCE D. MACKAY 

THE HOUSE OF THE HEART 

THE SILVER THREAD 

PATRIOTIC PLAYS AND PAGEANTS 

HOW TO PRODUCE CHILDREN'S PLAYS 

THE BEAU OF BATH 

COSTUMES AND SCENERY FOR AMATEURS 

THE FOREST PRINCESS 

THE LITTLE THEATRE IN AMERICA 

PATRIOTIC DRAMA IN YOUR TOWN 

FRANKLIN 




Color-Tone, engraved for THE CENTURY, by H. Davidson. 
THE YOUTHFUL FRANKLIN 

FROM THE STATUE BY R. TAIT MCKENZIE 

On the Campus of the University of Pennsylvania. 

Reproduced by courtesy of the sculptor and of The Century. 



FRANKLIN 



BY 

CONSTANCE D^ARCY MACKAY 




NEW YORK 

HENRY HOLT AND COMPANY 
1922 






COPYRIGHT, 1922, BY C. D. MACKAY 
All Rights Reserved 

Including stage and platform rights and the right 
of translation into foreign languages, including the 
Scandinavian. 

This play Franklin has been duly copyrighted in the 
United States of America, The Dominion of Canada, 
and in all countries of the copyright union. 

No performance, amateur or professional, can legally 
be given without permission first obtained from the 
author and payment of royalty. Infringement of copy- 
right Involves liability to prosecution by law. 

No public reading of this play for money can legally 
be given without permission first obtained from the 
author. 

To obtain such permission communication should 
be made with the author direct, in care of the pub- 
lishers. 



m 13 1922 

©CI.A(i74577 



PREFACE 

In this play of Franklin the aim has been to give 
a picture of the man while keeping as close to his- 
torical data as possible. All of the events in the play 
have a foundation of fact, and all of the characters 
save Bretelle had their counterparts in Franklin's life: 
Bretelle represents an epitome of the forces against 
which Franklin strove — the meanness, the spying, the 
trickery with which he had to contend. 

But dramatic exigency sometimes makes It necessary, 
on occasion, to temper fact with fancy, and in the 
sequence of events, story-cohesion has necessitated cer- 
tain slight changes. Actions covering a longer period 
of years have had to be compressed into a few years* 
time. An instance of this is Deborah Read's marriage 
to Aaron Rogers. Mystery has surrounded, and al- 
ways will surround this particular episode, and here 
the dramatist may perhaps be pardoned for supplying 
a motive. Again, in the matter of secret diplomacy 
the content and effect of the de Weissenstein letter 
has been heightened to make possible a climax. (See 
Notes on Historic Sources, page i88). Every one who 
has delved In the archives knows how matters stood 
before the French Treaty was signed. "It was then 
that Franklin quietly drew from his pocket a piece 
of paper stating an unexpected counter-claim, so cogent, 



IV 



PREFACE 



and of such kind that, rather than face it or dispute 
it, the English commissioners gave up their point at 
once. . . . On the day following this masterly stroke 
the preliminary treaty was signed, sealed and deliv- 
ered." 

Those wishing to follow the part which "secret doc- 
uments" played in the negotiations can read of the 
matter in full in the Diplomatic Correspondence ; in 
the volumes by Hale, and Parton, and in a fascinating 
study in Everyman s Library , edited by Ernest Rhys; 
while the prankish side of Franklin's statesmanship is 
quaintly revealed in the Letters of Junius by Benjamin 
Waterhouse. (See Notes on Historic Sources, page 
190.) 

As to the American Revolution — is It not now be- 
ing reinterpreted by students of history, who see in a 
new light the curious phenomena of a German king 
on the throne of England defying the gallant pro- 
Americanism of such great Englishmen as Chatham 
and Fox in order to subdue through Brunswickian 
military measures a country whose citizens were mainly 
of British blood, a state of affairs referred to by Frank- 
lin himself as *'an Edict by the King of Prussia^* 

On the stage side of practical simplification for what 
may at first seem to be a highly elaborate production 
the reader is referred to the final chapter on staging. 
The cast Is of necessity a lengthy one, but it is pos- 
sible by duplication of characters to give it with a 
much smaller number. Suggestions along these lines 
are made on page 195. 



FRANKLIN 

(A Play in Four Acts). 



SYNOPSIS OF SCENES 

Act I: Keimer's Printing Press, Philadelphia, 1723. 
Act II: The Same. A Year and a half Later. 
Act III: Franklin's House in Philadelphia, 1764. 
Act IV, Scene I: Franklin's Hotel at Passy, 1778. 
Act IV, Scene II: Hall dts Ambassadeurs, Ver- 
sailles, a Week Later. 



CHARACTERS 

Potts "J 

Austin v Printers 

Bretelle J 

Samuel Keimer 

Deborah Read 

Aaron Rogers 

Benjamin Franklin 

Greenie, a Printer's Apprentice 

Sir William Keith 

A Woman 

Mr. Knox 

Mr. Andrews 

Mr. Braithwaite 

Mr. Murray 

Richard Austin 

Letitia Braithwaite 

Lord Rockminster 

Parton, a Servant 

Countess de Sarnac 

Duchess de Cleary 

Mr. Bradley, American Messenger 

Lord Stormount, British Ambassador 

MoNS. Gerard, Secretary of the King's Council 

Count de Vergennes 

Citizens of Philadelphia, people of the court of 
France, savants, diplomats, lackeys, etc., etc. 



Members of the Philadelphia 
Assembly 



FRANKLIN 

ACT I 

Scene: Keimers printing press in Philadelphia, 1*723, 
A darkish room below the level of the street, with 
walls that are dingy and smoke-stained. In center 
background a door giving on the street, with smudged 
windows each side of it. In left background a stone 
hearth with a wide mouthed chimney. Bellows; a 
hearth broom; a kettle; a long-handled warming pan; 
wood for replenishing the fire. Near hearth a three- 
legged stool. Above the hearth a shelf with pewter 
candlesticks, some single, and some branched. At left, 
up stage, a door reached by three steps. It leads into 
Keimers house. At left, down stage, a counter with 
packages of paper, printed paper and books. Behind 
the counter a chair. Behind this a wig and coat. 
Right down stage, a wooden bench. On it a litter of 
ink balls, paper, a printing frame. Further up the 
printing press. Near it a stand for setting type. 
Mufflers and battered hats hang on the wall behind 
it. Pale Autumn sunlight comes through the windows. 
During the scene it fades from the rose of sunset to 
the gray of dusk, and from that to the black of night. 
Throughout the scene a fire smolders on the hearth, 

7 



8 FRANKLIN 

At Rise: Three printers are seen at work. Potts 
is blond and lankish. Austin is wiry and dark. He 
appears to be about five and twenty, Bretelle is a 
young Frenchman of medium height. He has pale 
brown hair and eyes, and a rat-like face. He seems to 
he about eighteen. Is exceedingly clever and quick 
with his hands, but offsets this by idling every spare 
minute. They are working with pauses, wherein 
Bretelle runs to fix fire, or to gaze out the window and 
report on what is passing. It is on one of these ex- 
peditions that the rise of the curtain catches him,* 

Potts 
Any sight of Greenie? 



* The discussion of printed stage directions is a good deal 
like the discussion of footlights, or no footlights. It has 
been found that for certain effects the latter cannot alto- 
gether be done away with. So, too, with stage directions 
or "business." It is true that in many modern plays the 
so-called stage business is like a paragraph in a story. 
But there are times, especially in a play when there is con- 
tinual coming and going, and where the stage positions of 
a large cast have a direct bearing on the action, when 
such story-like directions only serve to confuse the reader, 
and clutter the page. Such plays as Hamilton, Disraeli, 
and The First Lady of the Land have moments when it is 
imperative for the reader to know the exact position of each 
character in the scene, or the full significance of the scene 
is lost. It then becomes a question as to which method is 
best to use, and undoubtedly the sharpest and most incisive 
way of indicating involved action is the ancient method 
wherein "right," "left," or "background" are clearly indi- 
cated. 



FRANKLIN 9 

Bretelle 
Devil a sight! 

,(He replenishes fire) 

Potts 
'Tis only to Burlington he was sent. That's but 
seventeen miles. D'ye think he's missed the stage 
coach, or run away? 

Austin- 
Faith, if he's run, the more fool he! They'll be 
sure to catch him, and you know what happens to 
run-away apprentices. . . . 

Potts 
Ten lashes and a bread and water diet! I tried it 
once, but never a second time. I'd sooner take 
Keimer's wage that's as rotten as last year's apples. 

Bretelle 
Mon Dieu! Seven shillings a week to keep body 
and soul alive ! And our work from dark till dark. 

Austin 
(Clapping him on the shoulder) 
Come, lad. Remember night, and the joys of the 
tavern ! 

Potts 
Keimer would take even that joy from us if he 



lo FRANKLIN 

could. Only the other day he says "Work over time 
and I'll give you extra pay!" D'ye think the little 
Keimer'd give could buy my nights from me, my 
nights at the tavern? 
{Indignantly) 
Lord! 

Bretelle 
When I think of Keimer and his wage . . .: 

Austin- 
{Soothingly) 
'Tis only a little lower than the wage they pay 
printers everywhere. 

Potts 
Curse take them, one and all! 

Austin 
{Warily) 
Take care, Potts! 

Bretelle 
You're safe! Keimer's out looking for a sight of 
Greenie. I'll keep watch for him. You can trust me. 
{Looks out) 
Ha! 

Potts 
What's passing now? 



FRANKLIN ii 

Bretelle 
The coach of the Governor, Sir William Keith. 

Potts 
Folks say Sir William is the best judge of books and 
paper this side of London. 

Bretelle 
If I was a lord I would not leave the Court of 
London for a bourgeoise town like Philadelphia — not 
even to be Governor. 

Potts 
The smaller the puddle, the bigger the toad. In 
Philadelphia the Governor fares like a king. But you 
can't understand these things, Frenchy, being half 
French and half Spanish. 

Bretelle 
(Darkly) 
I can understand enough to hate success. Is it fair 
that some walk in the sun while others walk in the 
shadow ? 

{Works rapidly) 

Potts 
{Admiringly) 
Lord, but you're light with your fingers, Frenchy. 
**Light fingered Frenchy!" Was that why you left 
the land of France? 



12 FRANKLIN 

Bretelle 
{In more of a fury than the joke warrants) 
What d'ye mean? 

Potts 
Can't you take a jest ? 

Bretelle 
But that depends on who makes it. 

Austin 
Come, lads, don't quarrel. Where's my composing 
stick ? 

Potts 
Damnation ! Look at this ! A whole page ruined ! 

Bretelle 
The ink is sticky, and the type too old! 

Potts 
{Furious) 
I wish it was in 

Austin 

Softly ! Don't break it, or you'll have to set it fresh ! 
Look, lad! See what I filched when the ale-wife's 
back was turned! 



FRANKLIN 13 

Potts 
( Overjoyed) 
A flagon! 

Austin 
Come, souse your sorrow ! Souse your sorrow, man ! 

Bretelle 
{With delight) 
It's my throat that's as parched as a desert. A 
health to you, Sam Austin! 

Austin 
Nay, not to me! To our worthy master, Keimer! 
You first, Frenchy. 

Bretelle 
Here's to old squeeze, Keimer. May a plague rot 
him! 

{Drinks) 

Potts 
Here's to our master, Keimer! May the devil 
make him work in hades as we've worked here on 
earth. Amen ! 
{Drinks) 

Austin 
Here's to 

Bretelle 
DIeu! Here he comes! Pass me the ink balls. 



14 FRANKLIN 

{They hide the flagon, und work with furious 
industry. Enter Keimer, a tall pale man, 
with a red grayish-streaked beard, and hair 
that is tinged with gray. His clothes look as 
if they were flung on. He enters in silence, 
darts an instant glance at his printers, who 
work as if idleness were an unknown word. 
Then he crosses to left, takes off his great 
coat, hat and wig, and hangs them up, re- 
placing them with a shabbier coat and a 
mangy wig. Then he crosses to the printers) 

Keimer 
Papers ready yet? 

Potts 
Not quite, sir. We're on the last printing. 

Keimer 
How many more to do? 

Potts 
About thirty, sir. We could work faster if 



Keimer 
If — Always excuses, nothing but excuses. You had 
better said the printing was not done because you are 
.a set of lousy, idle wastrels. 

{Enter left, Deborah Read. She is almost sev- 
enteen, of medium height, and with dark hair 



FRANKLIN 15 

and eyes. She is slender, with a windflowers 
beauty, and wth a suggestion of a windflow- 
ers strength. Her manner is frank and 
charming, but without a trace of coquetry) 

Deborah 
Give you good day, Mr. Keimer! 

{She pauses a second, smiling at him from the top 
of the steps, and then runs down into the 
room) 

Keimer 
{With very evident pleasure) 
Deborah Read! Why, you're a sight for sore eyes, 
surely. 

Deborah 
Thank you, Mr. Keimer. 

{To the printers) 
Give you good day, Mr. Journeymen. How Is your 
wrist, Bretelle? 



Bretelle 
Better, I thank you, Mademoiselle. Ever since 
you were here two weeks ago, I did what you told me 
about it. 

Deborah 
That's right. I'm glad it's better. 
{Goes to counter) 



1 6 FRANKLIN 

Now, Mr. Kelmer, you must let me help you fold 
the papers. 

Keimer 
You'll soil your hands. 

Deborah 
As if I minded that! 

{Printers work industriously all through the next 
scene) 

Keimer 
{Watching her as she works) 
I declare, you're wondrous pretty, Debby. 

Deborah 
{Briskly) 
You mustn't flatter me. 

Keimer 
If ever I'd had a daughter, I'd have wished for one 
like you. 

Deborah 
Ah, I'm afraid that you and Mrs. Keimer spoil me! 

Keimer 
We couldn't do that, Debbie. You've got too sen- 
sible a head on your shoulders. You're as fine, and 
cool and sweet as a — as a morning glory. No wonder 



FRANKLIN 17 

half the lads have lost their hearts to you, and you not 
giving your heart to any. 'Tis foolish of you, Debbie, 
with your fine chances. How's Rogers, the potter? 

Deborah 
{Brushing the potter aside) 
Oh, Rogers! 

Keimer 
He's got a tidy fortune. And Matthew Denham, 
the butcher? 

Deborah 
His very soul is fat! 

Keimer 
And Roger Francis, and Aaron Brown, and Folger 
Goldthwaite 

Deborah 
{With a little gesture) 
They're all so — commonplace ! 

Keimer 
Commonplace! Deborah, what do you be wanting? 
A lord? 

Deborah 
Oh, no. I'd never be so foolish. 

Keimer 
What do you want then? 



1 8 FRANKLIN 

Deborah 
Oh, I can't tell you. I'm not quite sure myself. 
Only— 

{Her eyes begin to dream) 
he will be somehow different from the others, and 
high or low, rich or poor, I shall know him when he 
comes. 

Keimer 
{Impatiently) 
Prut! Nonsense! That's just maid's talk! A 
home and a husband will banish all such foolish dream- 
ing! How's your father? 

Deborah 
In the best of health. He's going to call for us 
after supper! 

Keimer 
Us? 

Deborah 
Ah, confess that you've forgotten that mother and 
I are to take supper with you and Mrs. Keimer! But 
I can't blame your memory when it's so weighted. 
{Indicates papers) 

Keimer 
{With pardonable pride) 
We've seven hundred subscribers. 



FRANKLIN 19 

Deborah 



{Impressed) 
Gracious ! 



Keimer 
But you can't make much on a paper and a few 
books. If I could get some special work to do — If 
I could hang a sign outside my door, "Printer to Lord 
So and So." Ah, Debbie, that would be the making 
of me! But all the great folk send their work to 
London. 

Deborah 

{Regretfully) 
Vm afraid they do. 

Keimer 
So it's ridiculous to hope for. 

Deborah 
I wish it might come true. I do love this dear old 
shop, and the smell of the print and paper. Do you 
remember when you first brought me here? 

Keimer 
{Holding his hand above the floor to the height 
of a small child) 
You were about so high, and I held you up to see 
the printing press. 



20 FRANKLIN 

Deborah 
And when I grew older you let me take my paints 
and color the print blocks you made for children. 

Keimer 
You were right skilful at it. 

Deborah 
Have you any now? 

Keimer 
About a dozen. 

Deborah 
{Eagerly) 
Will you let me color them? 

Keimer 
Yes. But first I must let Mrs. Keimer see a little 
more of you. And I haven't paid my duty to your 
mother. 

Deborah 
{Leaving her work) 
But afterwards? 

Keimer 
Afterwards you may color all you wish. 

{As she turns to go Rogers enters. A common 
looking man wearing his good clothes uneasily. 



FRANKLIN 21 

His face is mottled; his hands several sizes 
too large) 

Rogers 
Good day to you, Mr. Keimer. And to you, Mis- 
tress Deborah. 

{He looks at her anxiously) 
You're not going? 

Deborah 
I've scarcely had a word with Mrs. Keimer, for 
I've just come. 

Keimer 
Now, Debbie, stay a minute. 

Deborah 
Oh, thank you, Mr. Keimer. Really, I must not 
keep her waiting, Mr. Rogers. 

{Curtsies primly and exits, Rogers looks glum) 

Keimer 
You mustn't mind her. All girls are flighty till 
they have a husband to sober 'em. She'll smile on 
you yet. 

Rogers 
You think so? 

Keimer 
It's waiting as does it. Is there something you'll 
have? 



22 FRANKLIN 

Rogers 
An almanac. 

Keimer 
{Giving it to him) 
It prophesies fair and warmer. 

Rogers 
Thank ye. And good day to you. 

{Exit Rogers. After a look at the printers 
Keimer exits, left) 

Potts 
{With a laugh, as soon as their backs are turned) 
It should have prophesied "storms and colder"! 

'Tis the tenth almanac he's bought this month, and 

she won't look at him. 

Austin 
{T)reamily) 
It's just as Keimer said. She's like a morning glory. 
It seems as if she took the sunshine with her and left 
this old place dark. 

Bretelle 
Spoke to me as if I were a human! ''How's your 
wrist, Bretelle?" 'Twas worth the getting hurt. 

Potts 
Let your feeling rest there. She's not for the like 
of us. 



FRANKLIN 23 



{Begins to sing) 

"Since fortune's my foe, 
To a desert I'll go — 



{As he sings the door in the background opens 
and young Benjamin Franklin enters. He is 
a boy of eighteen but looks several years older. 
He is pale, shabby, travel-stained. The most 
noticeable thing about his face is the direct- 
ness and ste^adfastness of his eyes. He wears 
a coat two sizes too large for him, a garment 
evidently made over from a hand-me-down. 
As he takes off his hat on entering it is seen 
that he wears no wig. His hair falls lank on 
his coat collar. His low shoes are without 
buckles. His stockings are thick and clumsy 
looking. He carries a walking stick and on 
it a bundle tied up in a large handkerchief. 
From one of the pockets of his coat dangles a 
pair of stockings. The other pocket bulges 
with some unknown articles. Potts checks 
his song at sight of him) 

Austin 
Hey! What do you call that? A rag-bag or a 
scarecrow ? 



Potts 
{Approaching Franklin) 
What might your name be? 



24 FRANKLIN 

Franklin 
My name is Benjamin Franklin. 
(The printers stifle their mirth) 



Potts 
Of the High Street Franklins? 

Franklin 
No. Fm a stranger. I wish to speak with Mr. 
Samuel Keimer. 

Potts 
(With an impudent swagger and a wink at the 
other printers) 
And your business? 

Franklin 
(Evenly) 
Is none of yours. 

Austin 
Zounds! The apparition hath found a tongue! 
(They caper about. It is evident that the wine 
is having its effect on their spirits) 

Bretelle 
A chair for his Majesty! 

(Pushes forward a three-legged stool) 



FRANKLIN 25 

Austin 
Back! Back! And mind your manners! Who 
are you to approach the King of the scarecrows? 

{Franklin s eyes blaze. He takes a step for- 
ward) 

Bretelle 
{As the printers skip back to the press) 
But if you don't mind your manners, Messieurs, by 
the look in the scarecrow's eyes, you may be minding 
your pates. 

Potts 
{Gingerly approaching Franklin) 
Have you a card, sir? 

Austin 
{Plucking Potts by the sleeve) 
Don't embarrass him! 'Tis a deficiency that I can 
remedy. Give me a piece of paper. 
{Writes) 
Benjamin Franklin to see Mr. Keimer on impor- 
tant business. Where's your card tray? 

Bretelle 
{Skipping up with the warming pan) 
Here, Monsieur! 

Austin 
{Dropping the paper in it with great elegance) 



26 FRANKLIN 

Now run and tell your master the King of all the 

scarecrows has come to Philadelphia on a secret errand. 

{Bretelle runs nimbly with the warming pan and 

exits, Franklin has been standing with his 

face half turned from his tormentors, looking 

into the fire, Austin and Potts look at him 

from behind the printing press and keep up 

a running fire of talk) 

Lord ! What a chance to see the styles from court ! 

Potts 
The latest cut of hair. A great coat filled with 
stockings ! 

Austin 
And did you mark the bundle? The newest way 
for carrying one's finery. 

{Enter Bretelle, He speaks with mock respect) 

Bretelle 
Mr. Kelmer will see you, sir, in a few minutes. 

Franklin 
Thank you. 

{Bretelle runs to the press and whispers to Potts, 
who is shaken with silent laughter) 

Potts 
{Wiping his eyes on his printer s apron) 
And we were dying for a little sport! 
{Waves flagon in high glee) 



FRANKLIN 27 

"Since Fortune's my foe, 

To a desert I'll go, 
Where a river forever shall echo my w^oe." 

Bretelle 
{His back to audience as he faces Franklin) 
Hey! Rag and Tatter! Tell us how you like our 
singing? 

{He does not see, until too late, Deborah Read, 
who stands in the doorway) 

Deborah 
{With the utmost indignation) 
Pierre Bretelle! 

Bretelle 
{Taken aback) 
Why, Mademoiselle, I did not see — I — 

{Mutters) 
'Twas all in jest. 

{Goes back to his work. Franklin looks up. 
His eyes and those of Deborah Read meet for 
a long moment) 

Deborah 
Was there some one you wished to see? 

Franklin 
I asked to see Mr. Keimer, and he sent back word 
I was to wait. 



28 FRANKLIN 

Deborah 
I doubt if he knows you're here. I'll tell him. 

Franklin 
I thank you. 
{Exit Deborah) 

Potts 
(Jeering) 
Now what's to pay, Bretelle? 

Bretelle 
Be still, you. 

{Cuffs him. Enter Keimer) 

Keimer 
I am Samuel Keimer. Did you wish to speak with 
me? 

Franklin 
I did, sir. 

Keimer 
{Crossing to printers, and swiftly inspecting 

work) 
Are you near through? 

Bretelle 
{As they work furiously) 
Almost, Monsieur. 



FRANKLIN 29 

Keimer 
{Returning to Franklin) 
Well? 

Franklin 
I heard you might need a printer. 

Keimer 
{Looking him up and down) 
Where did you come from? 

Franklin 
Boston. 

Keimer 
{With half veiled contempt) 
Why didn't you stay there ? 

Franklin 
Because there were too many printers there already, 
and not much chance of rising. I wanted to come to 
a new place where I could learn new methods and 
prove myself. 

Keimer 
New methods? What d'ye mean? 

Franklin 
{Untying bundle on counter) 
I mean newer and better ways of printing, sir. 



30 FRANKLIN 

London is using Dutch letter, lately discovered, and 
we in America are behind the times. Here is some 
type of the new sort, and samples of what it will do, 
sir. I made it from a description. You see, the print 
is ten times clearer than what we're using now. 

Keimer 
Moonshine and fiddle-faddle. Put them up. 

{Franklin begins to tie up his bundle again) 
I've no patience with new methods. My printing 
press is good enough as it stands. The best in Phila- 
delphia. 

Franklin 
I didn't mean it wasn't, sir. I only thought 

Keimer 
I do not pay my journeymen to think. I pay them 
to work. 

Franklin 
I — I understand. 

Keimer 
How long have you been a printer? 

Franklin 
I've been apprenticed six years. I began work at 
thirteen, sir. I served my brother James, who prints 
the New England Courant. 



FRANKLIN 31 

Keimer 
A run away apprentice, I'll warrant. Was your 
brother the only one you ever worked for? 

Franklin 

Yes, sir. 

Keimer 
Well, you know what sort of a recommendation 
that gives you. 

Franklin 
A little better than none at all, sir. But if you'll 
give me a trial I'll do my best. 

{Keimer looks at him unmoved) 
I can work hard, and fast. 

Keimer 
Umph! That's what they all say. I've no mind 
to try a new man unless I must. It always means 
trouble and upset. But if Greenie doesn't come back 
I may be short. I'll give him one hour more. You 
can wait and see. 

Franklin 
Thank you, sir. 

Keimer 
Your pay will be seven shillings a week. 

{To Bretelle) 
Ready? 



32 FRANKLIN 

Bretelle 
Yes, Monsieur. 

{He has put on a hat and muffler, and shoulders a 
large package) 

Keimer 
Then see your heels are not as slow as your fingers. 

{Exit Bretelle, To Potts) 
You take the next batch, Potts. 

{To Austin) 
Break up the type, and begin to set those handbills. 
Finish them within the quarter hour, and take them to 
their owners. 

Austin 
Yes, Mr. Keimer. 
{Exit Keimer) 
Lord! ril never have them done in that time! 

Franklin 
Did you ever try heating the type? 

Austin 
Heating the type? You'd better not play the wag 
with me, young journeyman. 

Potts 
Try it, Austin. You can take it out on him later 
it it don't work. 

Austin 
D'ye mean that? 



FRANKLIN 33 

Potts 
Surely. 

Austin 
Well, then I'll try it. 

(Sets up case by fire, with type) 

Potts 
{Singing to himself as he slings papers on his 
back) 
"Since fortune's my foe, 

To a desert I'll go 

{Exit Potts) 

Austin 
{At fire) 
Lord ! It works like a charm ! It goes about twice 
as fast! Where did you learn it? 

Franklin 
On winter mornings when my hands were freezing. 

Austin 
{Regards him a minute, then crosses to him) 
Harkye ! That talk of ours about your being a rag- 
bag — you mustn't mind it. We're sometimes that 
way to a new one. Three years ago it was the same 
with me. 

{Goes on with his work) 
Did you land at Long Wharf? 



34 FRANKLIN 

Franklin 
{Helping to heat the type) 
Yes. 



Austin 
I landed there myself. Faith, I remember It as if 
'twas yesterday! It happened that there were many 
great folk on board that day, and they got out first — 
velvet coats, curled wigs and flashing buckles. And 
last of all lands I, tattered at elbow, down at heel. 
And there was such a difference 'twixt what went 
first and what came last, that all the crowd that was 
watching us set up a laugh 

Franklin 
A laugh that seemed to scorch you 



Austin 
How did you know? 

Franklin 
It was the same with me. And then they followed 
you, and mocked at you, and jeered you 

Austin 

{Ruefully) 
Well I remember it! 

Franklin 
And deep within you you swore that you would one 



FRANKLIN 35 

day land at that same wharf, and change those jeers to 
cheers ! 

Austin 
{Greatly startled, backs off) 
Lord love us! He's crazed! I never thought no 
such a thing! You're jesting! 

{Becojnes less wary of Franklin) 
Never let Keimer hear you at it. Keep mum when 
he's about. 

{Lowering his voice) 
I tell you this for your own good. He's the flint- 
iest man in Philadelphia. He'll drive you as if he 
held a slave whip. He's a hard master! 

Franklin 
But aren't all masters hard till you're your own? 

Austin 
{Breaking away from him) 
Till you're your own — ! Well, you are crazed for 
sure. I'd best be off with these handbills before my 
own head grows maggots! 

{He scurries to the door and exits. As soon as 
he has gone Franklin sits on the three-legged 
stool by fire, extracts a long roll of bread from 
his pocket, and begins to eat it, Deborah 
Read enters, left, a paint-box under her arm, 
and a bowl of water in her hand. She stops 
at sight of Franklin, He quickly puts the 
roll in his pocket) 



36 FRANKLIN 

Deborah 
{Embarrassed) 
You're the boy I saw this morning when I was 
sweeping off the steps. I — I laughed, and shook my 
broom at you. But 'twas not meant unkindly. 
{Briskly) 
Have you seen Mr. Keimer? 

Franklin 
{Hastily hiding roll and rising) 
Yes, Mistress, but he told me to wait. 

{Hesitatingly) 
Mistress, I want to thank you for taking my 
part 

Deborah 
{Putting the paint-box on counter with bowl of 
water, taking out brushes) 
Fm very angry with Pierre Bretelle. 

Franklin 
{Bluntly) 
Well, Mistress, 'twas no wonder they mocked. I 
do look like the scarecrow's cousin, and — and my coat 
is shabby. 

Deborah 
Their manners were shabbier than your coat. Are 
you a stranger to Philadelphia? 

Franklin 
Yes, Mistress. 



FRANKLIN 37 

Deborah 
I thought as much. 

{She looks at him kindly as she leaves her paints 
and exits. The moment she is gone he 
snatches another mouthful. Enter Bretelle, 
He sees Franklin) 

Bretelle 
(With a sneer) 
Still there, M'sieu? 

Franklin 
It would seem so. 

Bretelle 
(As he hoists another load of papers to his back) 
They have a saying in your country, "Beggars and 
slug-abeds love the fire." 

(Exit Bretelle. Re-enter Deborah with a bowl 
of broth) 

Franklin 
(Half ashamed J half grateful) 
Mistress! 

Deborah 
(Very sweetly and graciously) 
Nay, don't refuse me! 'Tis just a bowl of mutton 
broth to make you remember that Philadelphia is not 
always unkind and inhospitable to strangers. 



38 FRANKLIN 

Franklin 
(Embarrassed) 
But, Mistress Read 

Deborah 
(Surprised) 
You know my name? 

Franklin 
I heard one of the printers call you so. 

(Haltingly, with emotion) 
I scarce know how to thank you 

Deborah 

(Moved) 
Why, there are tears in your eyes! 

( The next instant she is terribly confused, cannot 

look at him and wishes she had bitten her 

tongue off) 

Franklin 

(Boyishly) 
T-that's because the broth is very hot! 

Deborah 
(Regaining her composure, and setting to work) 
Best let it cool, then. 

(Franklin puts his bowl on hearth shelf, and tak- 
ing a paper out of his pocket offers it to her) 



FRANKLIN 39 

Franklin 
If I am not presuming, would you care to see a 
Boston paper? 

Deborah 

{Taking it up, interested) 
Why, 'tis the New England C our ant! 

Franklin 
{Drinking broth and watching her) 
YouVe heard of it? 

Deborah 
My mother can't abide it; but my father dotes on 
it. I often read the articles aloud to him. 

Franklin 

Which does he like the best? 

Deborah 
The articles signed "Couranto." He thinks they're 
wondrous clever. 

Franklin 
{Boyishly, eagerly) 
Does he? What do you think of them? 

Deborah 
Oh, sometimes I am moved and thrilled by them, 
and again I am half frightened. 



40 FRANKLIN 

Franklin 
Frightened ? 

Deborah 
Some of the articles are so bold! Why, the last 
one said it didn't matter where a man started from, 
he could climb to any heights he chose. Do you be- 
lieve that? 

Franklin 

It's my creed. You see — I — I wrote those articles. 

Deborah 
You wrote those articles — ! You're Couranto! 

Franklin 
Well, my true name is Benjamin Franklin, but at 
heart I'm Couranto: only more so! 

Deborah 
You're going to be a printer here with Mr. Keimer? 

Franklin 
I hope to be. I wish he were more interested in 
my new blocks for printing. 
{Indicates them) 

Deborah 
Oh, father will be so excited when I tell him ! 



FRANKLIN 41 

Franklin 
I'm very proud to think that he likes my articles. 

Deborah 
{With apparent pride) 
And he's a judge of articles ! He says that in order 
to reach the public the statements in a paper should 
be hot as rum punch and sudden as love! What 
do you think of that? 

Franklin 
{Bluntly) 
Well, I can speak for the first, but I've never ex- 
perienced the second. 

Deborah 
{JVith innocent frankness) 
No more have I. But then, we've years ahead of 
us before we can be as wise as father is. 

Franklin 
That's true. 

Deborah 
I hope you don't mind my saying I thought your 
writing bold? 

Franklin ^ 

{Vehemently) 
Were the press really free, my writing would have 
been a hundred times bolder. Freedom! That's go- 



42 FRANKLIN 

Ing to be the watchword of this century. It's going 
to be a part of the doctrine that will shake the world. 



Deborah 
{Half sturtled) 
Doctrine ? 

Franklin 
{With growing fervor) 
That all men are born equal and free, and rise or 
fall by what is within themselves. That is the great 
discovery of our time. France dreams It: England 
dreads it: America knows it! The knowledge is run- 
ning from country to country; but underground, like 
a subterranean fire, and the people who are living 
nearest the ground have word of it first. But our 
press dares not tell of it yet. 'Tis too mighty a con- 
flagration. They are afraid of it. For when you've 
thrilled a man with the knowledge that he is responsi- 
ble for his own future, what have you done? You've 
given him a spark of that Promethean fire that was 
meant to burn for all the world, and not for a favored 
few. However poor that man may be, however ob- 
scure he Is, you've given him life and hope and 
strength 

Deborah 

(Kindling) 
You mean 



FRANKLIN 43 

Franklin 
I mean that a man can fight his own way to any 
goal he dreams of. I mean that even a humble print- 
ing press can be — a ladder to the stars! 

Deborah 
{With a half cry) 
Ah, I knew that you were different from the others. 
Tell me, what are you going to do? 

Franklin 

{Eagerly and rapidly) 
First — work early and late, and save till I have my 
own printing press. 

Deborah 
And later your own paper. 

Franklin 
The Saturday Evening Post. 

Deborah 
{Staring before her) 
The Saturday Evening Post. 

{Turning to him enthusiastically) 
That's a good title. It sounds as if folks would 
read it. 

Franklin 
I think they will. And in it I mean to print my 
own wares as well as other people's. 



44 FRANKLIN 

Deborah 
{Half overawed) 
You mean to be an author? 



Franklin 
Yes, yes, and more. 

{Halts) 
You'll think me mad! 

Deborah 
{Breathlessly) 
No. No. Go on. Go on. 

Franklin 
I hope to be what an author is when he helps to 
fashion the thoughts of the public. 

Deborah 
{Fascinated) 
You mean a statesman? 

Franklin 

{Passionately) 
Yes. With all my heart and soul I long to serve 
America, my country, where a man can say, "I will 
mold my own future, and poverty is no disgrace"! 

Deborah 
Ah, and you'll do it! 



FRANKLIN 45 

Franklin 
You think I will? 

Deborah 
I'm sure of it! 

Franklin 
You do believe in me! 

Deborah 
With all my heart ! Oh, you have shown me vistas 
such as I never dreamed! You've made my little 
world seem small and sordid! 

Franklin 
{Deeply) 
No world that holds you in it could be sordid. 

Deborah 
Women can do so little. 

Franklin 
An hour ago I might have said "That's true" ! But 
now I know that no man's triumph is complete until 
he reads it in a woman's eyes. 

Greenie's Voice 
{Shrilly, without) 
Let be, I tell you! 

{Enter Br e telle, and Greenie, a lad of fifteen or 



46 FRANKLIN 

thereabouts, shock headed, mide mouthed, 
Br e telle is leading him by the ear) 

Bretelle 
Come in, you whelp! Don't dictate to your elders! 
{Austin enters, followed by Potts) 

Potts 

What is it, Austin? 

Austin 
*Tis our apprentice back again, and ready for a 
thrashing. Call Mr. Keimer. 
{Exit Potts, left) 

Greenie 
You leave me be, Pierre Bretelle! I tell you I 
missed the stage coach. 

Bretelle 
{Walking him over to the bench, right) 
A likely story! 

Greenie 
And had to beg a ride! 

Austin 
Wait till you've seen the master! 



FRANKLIN 47 

Greenie 
{Half -crying) 
Wait till the master's heard the news I've got for 
him. Sir William Keith's coming here! 

Keimer 
{At top of steps) 
Who said Sir William Keith? 

Greenie 
I did, sir. And it's the truth ! Lash me if it isn't ! 
I passed his coach just now and heard him say it. He 
was leaning out and talking to a friend. 

Keimer 
Boy, if you're lying 

Greenie 
Don't I know I'll have to pay for it! But it's the 
truth, I tell you, the truth! I heard Sir William say 
so! He's coming here to ask about some printing. 

Keimer 
{Entranced) 
Angels in heaven! Sir William coming here! 
Clear up that bench, you vagabonds. 
{Printers scurry to clear bench) 
Debbie, be quick! Help me rid up this counter! 
Angels in heaven! A lord! A lord at last! 
{Sees Franklin) 



48 FRANKLIN 

You ! What are you waiting for ? • Don't you see 
the apprentice has come back? 

Franklin 
But won*t you need another printer? 

Keimer 
{Shouting with vexation) 
No! Get out! Get out! You're in the way, 



Get out 



But, sir- 



Franklin 



Keimer 
Begone, I tell you ! 

{Franklin turns away) 
Is my wig straight? 

{Keimer looks anxiously in mirror he takes from 
behind counter) 

Deborah 
{To Franklin) 
Mr. Journeyman, come back a moment. Haven*t 
you forgotten one of your print blocks? 

{Just as Franklin turns back toward Deborah, Sir 
William Keith enters. Tall, slender, fash- 
ionable. His manner brings a whiff of the 
court into the dingy printing shop. He car- 
ries a folio under his arm) 



FRANKLIN 49 

Keith 
Is this the printing press of Samuel Keimer? 



Keimer 
Yes, my Lord! Your Lordship's very humble serv- 
ant! 

Keith 
You sell both books and papers? 

Keimer 
Yes, Sir William. Yes, my lord! 

Keith 
I wish to have some cards printed for a dinner I am 
giving, instead of waiting to send the work to London. 

Keimer 
Yes, my lord! 

Keith 
Show me some samples of your work. I myself will 
supply the paper I wish them printed on. 

Keimer 
{Hastening to get samples out from back of 
counter) 
Yes, my lord. Here's one. You see the print is 
very clear and fine. 



50 FRANKLIN 

Keith 
{Looking at specimens) 
Let others say that for you. 

Keimer 
Y-yes, your lordship. 

{Keith and Keimer are left of stage center, the 
rest in the room watching them eagerly. Aus- 
tin stands at right in a respectful attitude, 
and takes the specimens which Keith dis- 
cards) 

Keith 
Too blurred. It will not do. 

Keimer 
{Anxiously) 
Try this, my lord. 

{Gives him another specimen) 

Keith 
{Discarding it) 
Impossible. I am a judge of print and this is ex- 
ecrable. Have you no other specimens? 

Keimer 
If your lordship could wait till I have some fresh 
type molded 

Keith 
I cannot wait that long. 

{He hands hack the last specimen to Keimer and 



FRANKLIN 51 

turns to go, coming face to face with Frank- 
lin) 

Franklin 
{Offering a specimen) 
Would your lordship look at this? 

{Keith takes specimen; faces audience, tipping 
specimen to get light on it. Franklin draws 
nearer, Keith looks at specimen, then at 
Franklin, then looks at specimen again) 

Keith 
Hah! Printed from Dutch letter. Clear. Per- 
fect. 

{To Keimer) 
Why didn't you show me this? 
{Looks again at specimen) 
One of the Odes of Horace. Who made this type? 

Franklin 
I did, my lord. 

Keith 
H'm. 

{Looks him up and down) 
Are you one of Keimer's printers? 

Keimer 
{Hastily) 
Yes, my lord. I — I've just engaged him. 



52 FRANKLIN 

Keith 
(As Franklin begins to pass him other specimens) 
Where did you learn to mold such type? 

Franklin 
I read descriptions of what Caslon was doing in 
London, and what Didot was doing in France. 

Keith 
(Looking at samples and back at Fra:nklin) 
You know the Odes of Horace, and the Essays of 
Shaftesbury? Where did you learn your A. B. C.'s? 
At Harvard? 

Franklin 
No, my lord. Between whiles in my father's shop, 
and later in my brother's printing press. 

Keith 
{Still looking at him) 
What is your father? 

Franklin 
A tallow chandler. 

Keith 
{Considering) 
Hah! Could you set up, print and correct for me 
a set of poems, and let me have them by tomorrow 
morning? 



FRANKLIN 53 

Franklin 
By working all night, yes, my lord. 

Keith 
The pay shall be divided 'twixt you and Mr. 
Keimer. One-third to you; two-thirds for the use 
of the presses. 

Keimer 
{Bowing^ rubbing his hands with pleasure^ 
Yes, my lord. 

Keith 
{To Franklin) 
I leave the choice of type and spacing to yourself. 
{Opens folio he carries j handing it to Franklin, 
and demonstrating on one of the pieces of 
white bristol board which it contains) 
But I would have the poems printed thus : First the 
title of the poem, then underneath the title a line or 
two of the refrain, and then the poem itself, refrain 
and all. You understand me? 

Franklin 
Perfectly, my lord. 

Keith 
{Still regarding him as he takes a leisurely pinch 
of snuff) 
And so you learned between whiles? You are am- 
bitious? 



54 FRANKLIN 

Keimer 
{Quickly) 
My lord, I'm sure he wouldn't be so presumptuous. 

Keith 
{Still looking at Franklin, and ignoring Keimer s 
existence) 
You are ambitious? 

Franklin 
Yes, my lord. 

Keith 
Take care. Ambition is a deadly drug. Yet here 
in America I sense a new order of things that is some 
day to be born — a new order with new opportuni- 
ties. . , . You, young man, may go far. But never 
forget that though you satisfy all your ambitions, or 
nearly all, there may be one that you will never 
attain. And the failure to reach that one will leave 
your life bitter and incomplete. Some day you may 
remember that I have told you this. 

Franklin 
My lord, I thank you. 

Keith 
And one thing more. See that you get to London. 
Use newer methods yet, and you will win. 



FRANKLIN 55 

Franklin 
I thank your lordship. 

{Keith turns toward door. General stir) 

Keimer 
May I attend you, my lord? 

(Runs before him to open door. Exeunt Keith 
and Keimer, Printers snatch up coats and 
hats from pegs, hurriedly putting them on) 

Potts 
Work's over! Come, lads! This may be the only 
chance you'll ever have to let the whole street see you 
attending on a lord. Come! And then to the tav- 
ern! 

Bretelle 
The tavern! 

Austin 
I wish 'twas not so dark, so folks could see us bet- 
ter. 

{Exeunt Bretelle, Austin, Potts and Greenie with 
the utmost nimbleness) 

Franklin 
{To Deborah) 
My first step upward! I owe it all to you! You 
called me back — ^you pretended that I had left a print 
block 



56 FRANKLIN 

Deborah 
I felt it might be a critical moment if the great Sir 
William should take an interest in you. And it hap- 
pened just as I hoped. 

Franklin 
You made it possible. 

Deborah 

(Briskly, as if to ward off something that she 

feels) 

Ah, but your own wit did the rest. Come ! Every 

moment counts at a time like this. Get out the type 

case, and I'll read the poems. Which shall I choose? 

Franklin 
{Preparing to set type with marvelous celerity) 
The first that your hand touches. 

Deborah 
Shall I begin? 

{She is looking at Franklin instead of at the 
paper) 

Franklin 
The title first, he said. And after it the refrain. 
What is the title? 

Deborah 
{Reading and then watching Franklin again) 
'Tis called ''Lines to One St<arting on a Long 
Journey'* 



FRANKLIN 57 

Franklin 
And the refrain? 

{Deborah looks down on the paper. There is a 
slight pause) 
And the refrain? 

Deborah 
"Courage! Tho' the way be far 
Fate will guide you, like a star!" 
(Their eyes meet) 

Franklin 

Deborah, 'tis like a portent! 

(Eagerly) 
Ah, you must guess what I long to tell you 

Deborah 
Hush! Not yet. 

Franklin 

But — some day 

Deborah 
Some day. 

Franklin 
And you will listen? 

Deborah 
I will always listen when it is you that speak. 
(Enter Keimer in a high state of delight) 



58 FRANKLIN 

Keimer 
Well! Well! This has been a great adventure! 
Not one of my neighbors but what knows that Samuel 
Keimer has entertained a lord in his shop. Come, 
Debbie. I'll warrant Mrs. Keimer and your mother 
will be agog when they hear it! 

Deborah 
(Gaily) 
I'll warrant they will! 

(She picks up paint-box) 

Keimer 
{Opening door for her) 
Come, Debbie. 

Deborah 
I'm coming. 

{She pauses on the step leading to the house, 
looking back at the young figure who stands 
at the printing press, watching her) 
Good night, Mr. Journej^man! 

Franklin 
Good night to you, Mistress Read, and pleasant 
dreams. 

Deborah 
I thank you. 

{Exit Deborah. Keimer, who has held a candle 



FRANKLIN 59 

for her, puts it back on the shelf, and pauses 
on step to admonish Franklin) 

Keimer 
And don*t forget, lord or no lord, night work or 
no night work, you'll be on hand come six tomorrow 
morning. Blow out the candles when you leave, and 
lock the door. 

Franklin 
I will remember. 

{Exit Keimer, Franklin stands at his printing 
press in the shadowy room, his face transfig- 
ured by an inner flame, his eyes lifted to the 
door through which Deborah has vanished) 
"Courage, tho' the way be far!" 
{He is beginning to work as falls the 

CURTAIN 



ACT II 

Scene: Keimers shop, as in Act I. Everything is 
much the same, only shabbier and more down at heel. 
The whole room has an air of non-success and for- 
lornness. Across the wall at right, behind the print- 
ing press, hangs a tupestry made of sacking, rudely 
stitched together. The sacking is coarse brown stuff. 
To this tapestry are pinned wood cuts, prints and 
several pages from Keimers paper, memorandums, etc. 
The "tapestry" parts in the middle, as if it were a 
curtain. But this parting is not wide enough to dis- 
close anything that may be behind the ''tapestry," It 
is Spring, and brilliant sunshine pours through the 
dilapidated windows. The door in background stands 
wide open. The hearth is fireless and gaunt. 

Time: A year and a half later. 

At Rise: Franklin stands at hearth, with a book 
propped in front of him on the hearthshelf. Quill 
pen and ink at his elbow. From time to time he 
writes on some loose pages. He is fathoms deep in 
what he is doing, and lost to all that goes on in the 
room. His clothing is clean, but a mass of patches. 
Since the weather is hot, he is without his coat and 
wears a loose linen shirt that has been often mended. 
The printers Austin and Bretelle have pulled the bench 
down stage, center, and straddling it, regale them- 

60 



FRANKLIN 6i 

selves with a meager lunch of water, bread and cheese. 
They too are even shabbier than in Act /. They 
wear loose shirts that are exceeding dirty, though 
Bretelle is a trifle cleaner than Austin, Their sleeves 
are rolled to their elbows. They eat dejectedly, even 
their sardonic spirits flown. Enter Potts from back- 
ground, mopping his face. 

Potts 
Is there a bite and a sup for me, or have you rogues 
eaten it all? 

Bretelle 
{As they make room for Potts) 
Here's a bit of bread and cheese, and a sup o' water. 

Potts 

Water, pah! 

{He drinks, making a wry face) 

Austin 
Don't curse your blessings. Next week you may 
feed on air. 

Bretelle 
S-sh! Careful! 

Potts 
Careful ! 

{Mimics Bretelle) 
'Tis all over town that Keimer's gone bankrupt to 



62 FRANKUN 

kiss the shoes of a lord! He's borrowed more money 
than he can ever pay back. He's beggared himself 
because Sir William looked on him. Dutch letter. 
Better ink and paper. All the rest of it. 
{Indicates press) 
And what's Sir William done? He's let us rot, 
damn him! 



Austin 



Have a care! 



Potts 
Oh, Ben won't hear me! 

{Calls) 
Ben! What did I tell you? 

{Austin tiptoes up to Franklin , steals one of the 
pages Franklin is working on without Frank- 
lin s seeing him, and then skips back to print- 
ers with it) 

Austin 
{Reading what is on sheet) 
Air currents — atmosphere — effect of storms on the 
ether — 

{Franklin begins to look for the sheet of paper) 
Look! He can't find it. He doesn't guess it's been 
spirited away! 

{Printers laugh in glee. Franklin gives up his 
search for the paper and goes on with his 
work. Potts goes up to Franklin and slaps 
him resoundingly on the shoulder) 



FRANKLIN 63 

Potts 
Hey, Franklin! 

{Franklin looks up) 
What romance is it that's stuffing your eyes and 
ears? 

{Looks at Franklin s book) 
A book on chemistry. 

{Snatches it from Franklin) 

Franklin 
{Catching Potts) 
Don't touch that book, Potts. 

Potts 
{Writhing) 
Let me go! I tell you, you're breaking my arm! 
Let me go! 

{Franklin drops Potts' arm and retains book) 
You'd think your foolish book was bound in gold! 
{Potts rubs his arm) 

Franklin 
I'd rather lose my head than that book. It is 
bound in gold for them that have eyes to see! It's a 
guide to heights that — 

{Abruptly, as if remembering suddenly to whom 
he speaks) 
that are no more to you than cold soup in yesterday's 
dish. 

{Goes back to his work) 



64 FRANKLIN 

Austin 
I'd be glad for soup in any dish, today's or yes- 
terday's ! 

Potts 
That book was a gift from Sir William to our wor- 
shipful friend. I saw his name on the fly leaf. 

Austin 
To our moon-struck f riena ! Have you not noticed 
his actions these last few weeks ? Yesterday I saw him 
working on a kite, and the day before that he was 
tying silk cord to a hempen string. 

Bretelle 
What's this he's dropped? 
{Shows metal disk) 

Potts 
A piece of iron! What d'ye suppose he wants it 
for? 

Austin 
Keep it and see. 

Potts 
I'll throw it on the scrap heap. 

Bretelle 
Nay, give it to me. There's nothing I wouldn't 
do to spoil his crack-brained plans. 



FRANKLIN 6s 

Potts 
Hey, Frenchy! You hate him because Deborah 
Read smiles on him, and you want Deborah ! 

(Bre tellers eyes flash fury. He clenches and un- 
clenches his hands) 

Bretelle 
{Fairly spitting out the words) 
You blackguards! 

Austin 
Lord, Frenchy! What a demon looks out of your 
eyes when you are angry. 
{Backs off) 

Bretelle 
She's kind to all of us. 

Potts 
{Enjoying Bretelle's anger) 
Aye, but most kind to him. 

Bretelle 
You know she's Keimer's ward. He wouldn't let 
Ben marry her. 

Austin 
And there's Rogers to reckon with. He hangs 
round this door sill every day, just for a glimpse of 
her. 



66 FRANKLIN 

Bretelle 
I*d see Ben rot in hell before he gets her. 

Potts 

{Lightly) 
We'll rot there ourselves If Keimer finds us idle. 
Is this the ink we're to use? 

{Goes back to presses. Bretelle puts iron disk 
in his pocket. Franklin comes back from the 
door and takes up his book, A woman 
comes to the doorway, background. She is 
of medium height, and may once have been 
pretty. But now she looks work-worn, 
ragged, and old before her time. She wears 
a dilapid'ated gray dress and shawl, and car- 
ries a leather portmanteau. In spite of her 
apparel she has an air of determination. She 
glances up and down the road, and then enters 
Keimer s shop) 

Woman 
Can you tell me the way to the magistrate's? 

Potts 
He has no traffic with beggars. 

Austin 
And the poorhouse is in the other direction. 

{Franklin comes out of his dream, is aware that 
something is afoot, and looks at the woman) 



FRANKLIN 67 

Franklin 
What is it you are wanting, Mistress? 

Woman 
Can you tell me the way to the magistrate's? 

Franklin 
{Going to the door and pointing up the road) 
The large house at the end of this street, Mistress. 
A white mansion with green shutters. 

Woman 
I landed this morning with a letter to 'im. Do you 
think 'e'll see me? 

Franklin 
I'm sure he will if you bide your time. Mistress. 
Best go to his house and wait. 

Woman 
Thank you, sir. Thank you kindly, sir. 

(Exit woman, background, Franklin goes back 
to his book) 

Austin 

Spoke to her as if she was a lady! 

Potts 
He's losing his wits. For a while even I believed 
in him. But now I know he's a stupid dreamer. 



68 FRANKLIN 

{From time to time during the talk that ensues 
Franklin goes to the open door and looks up 
at the sky) 

Austin 
Look at him! Star gazing in the day time! He 
doesn't hear a word we say! Do you truly think 
he's crazed, Potts? 

Potts 
I wonder why Keimer keeps him on? 

Bretelle 
Do you need to ask? 'Tis for fear of offending my 
lord. 

Austin 
{Tauntingly to Franklin , who stands at doorway, 
looking upward) 
Hey, Ben! Ben Franklin, what do you see in the 
heavens ? 

Franklin 
{Dreamily^ in a tranced voice) 
"For the third week of April great heat may be ex- 
pected. Look out for storms. Thunder and light- 
ning." 

Austin 
{Fairly shouting at him) 
Ben! 



FRANKLIN 69 

Franklin 
(Turning and looking at them vaguely) 
Did some one speak to me? 

Potts 
What did I tell you ? 

{Taps his head) 
'Tis here that he's affected. Can't keep his mind 
off the almanac and the weather. 

Franklin 
Did you speak to me, Potts? 

\ Potts 
{Suddenly blazing out at him) 
Yes, I spoke to you, you half -crazed dreamer. What 
has your great friend done for us? Why hasn't he 
sent us patrons? Why hasn't he got us customers? 
Look at that new Dutch letter press 

Franklin 
Sir William didn't command Mr. Keimer to buy 
new presses. 

Austin 
What's he done for us? 

Bretelle 
Where's the subscribers he should send to us? 



70 FRANKUN 

Franklin 
New presses aren't enough. YouVe got to have 
brains behind the presses if you want subscribers. 

Potts 
(Mimicking) 
Brains! Didn't I tell you he was simple? 
(Franklin goes back to his book) 

Austin 
When he first came here he did two men's work for 
one man's pay. That's always a sure sign. 

Potts 
Let's bait him! 

(Dances up to Franklin, and thrusting aside 
Franklin s book, looks impudently into Frank- 
lin s face) 
Aha! Ben Franklin! What were you doing last 
night in Peter Folger's field? You were running up, 
and down with the wind in your hair as if the devil 
was after you ! 

(Enter Keimer left, in time to hear Potts* last 
words, Keimer is wearing his shabby best. 
He carries a paper in his hand) 

Keimer 
(Loudly and furiously) 
And well he may be, you skulking villains. 

(He catches Potts by the scruff of the neck and 
swings him round) 



FRANKLIN 71 

Who set the third page of last week's paper? 

(Silence) 
Who read the proof? 



Bretelle 
Not I, M'sieu! 

Keimer 
{Roaring) 
Answer me! Who mixed the town news with the 
almanac predictions? 

Potts 
It must be Ben. He's talked of nothing but the 
weather. 

Keimer 
{Shaking the paper under Franklin s nose) 
Ben Franklin, answer me ! Did you set this column ? 

Franklin 
Why, yes, sir — I 

Keimer 
{In a towering rage) 
Aha! You loose-tongued rascal! I thought that it 
was you! Where were your wits? What were you 
thinking of? You'll be the ruin of me! 

{Printers make signs of delight to each other) 



72 FRANKLIN 

Austin 
Is it so terrible, sir? 

Keimer 
Terrible! It's brought the best folk of the town 
about my ears! 

{To Franklin) 
Didn't I tell you to put the almanac predictions at 
the top of the page? 

Franklin 
{Eagerly) 
That's where I put them, sir. 

{Deborah enters , left, and stands on steps, listen- 
ing) 
For the third week of April great heat may be ex- 
pected. Look out for storms. Thunder and lightning. 

Keimer 
I'll thunder and lightning you! Look what you've 
done, you scurvy rascal! 

{The printers gather about Franklin and Keimer 

in high glee, Keimer reads in a voice broken 

with emotion) 

Our esteemed citizen Darius Flint is dead and gone 

to his reward. Great heat may be expected. What 

were you dreaming of ? And as if that wasn't enough, 

look at this! Miss Mabelle Snipper hath married 

Thaddeus Brown. Look out for storms! 



FRANKLIN 73 

{Printers can barely stifle their mirth. Keimer 
glares at them) 
Be silent ! This is no time for laughter. 

{Tragically) 
Look at the last one! Twin babes have come to 
bless the home of Mistress Seymour. They will be 
christened on the Sabbath. Thunder and Lightning. 

Franklin 
I'm truly sorry, sir. 

Keimer 
Sorry won't mend it. You'll leave my shop. I'll 

not be served by a half-witted lout who 

{Sound of coach wheels without) 
Isn't that the sound of coach wheels? Is that his 
lordship ? 

{A coach passes and some one within it bows to 
Keimer) 
My lord! Your lordship's very humble servant! 

{Keimer bows rapturously again and again) 
What a bow he gave me! There's not a tradesman 
in Philadelphia that has the friends that I have. 

{He comes back into the room mollified and smil- 
ing) 
Get to your work, you rogues. 

( To Franklin ) 
And you, if there's another such happening as this 
you quit my roof ! Understand ? 
{He turns to Deborah) 



74 FRANKLIN 

'Tis lucky I wore my best! One never knows who 
may be passing. Fetch me a mirror, Deborah. 

{Deborah brings one from behind the counter. 
Austin, Potts and Bretelle exeunt background 
with papers) 

Deborah 
Here it is, Mr. Keimer. You're all dressed up. 

Keimer 
You think I look well, Debbie? 

Deborah 
Splendid. 

Keimer 
Then maybe I'll get what I'm after. 

Deborah 
I hope so, whatever it is. 

Keimer 
Tend shop while I'm out and see that no customers 
escape you. Ther're so few coming we can't afford 
to lose 'em. 

Deborah 
Of course we can't. I'll do my best, Mr. Keimer. 

Keimer 
Just kind of smile and make *em buy, eh? 



FRANKLIN 75 

Deborah 



ril try to. 



Keimer 
{To Franklin) 
Print the bills for the India Company, and take 
them to their owners. 

(Exit Keimer, background. Deborah comes 
down to bench. The shabby black mourning 
she is wearing makes her look somewhat pale 
and forlorn) 

Deborah 
{As Franklin comes to bench) 
Dear blunderer! I know you didn't mean to make 
that terrible mistake. Why, all these weeks you haven't 
been yourself. You've been living in a dream. You 
hardly hear me when I speak to you. 

Franklin 
I was a thousand miles away when I set that type. 
I never thought of Keimer and his printing press. If 

you knew what I'm trying to do 

{Stares before him at something she does not see) 

Deborah 
Is it some new world you want to conquer, Ben? 

Franklin 
Yes. A new world. One that in a hundred years 
will make this old world over. i 



^6 FRANKUN 

Deborah 
Isn't this old world hard enough? 

Franklin 
So hard I want to make it easier. It's a new dis- 
covery I aim at, the like of which we've never dreamed. 
For weeks I've thought of nothing else, I've dreamed 
of nothing else. I've worked in secret. 
(Indicates) 
My tools are there, behind that sacking. 

Deborah 
(Bewildered) 
Your tools 

Franklin 
You are the only one I can talk to. No one else 
would believe me. 

Deborah 
But what is this thing that you want to discover? 

Franklin 
It*s a wonderful and terrible force, and I want to 
find the way to transmute it. 

Deborah 
(Puzzled) 
And where can it be found? 



FRANKLIN 77 

Franklin 
It's in the greatest and humblest manifestations of 
nature. It's in the lightning in the summer, and in a 
cat's fur when you stroke it in the winter. 

Deborah 
In the lightning in the summer, and in a cat's fur 

in the winter Oh, my poor Ben! You've been 

studying too hard! You're feverish! 

Franklin 
I've thought of a way to transmute it. It's so 
simple that no one has ever dreamed of doing it, and 

so big with possibilities that I can't see them all 

(Stares before him) 

Deborah 
Have you been out in the sun without your hat? 
Ah, you won't listen to my warnings, and even your 
brains can't stand such heat! 

Franklin 
My new discovery may light our streets with a light 
brighter than torchlight. 

Deborah 
But, Ben 

Franklin 
It may run our carriages without horses. 



78 FRANKLIN 

Deborah 
Run our carriages without horses — oh, you're get- 
ting worse! 

Franklin 
{Obsessed by what he sees in his mind's eye) 
It may even turn the wheels of trade without man's 
help. \ 

Deborah 
{Starting away from him) 
Ben! You're talking witchcraft! 

Franklin 
I believe I've found a way to transmute this power 
if I can make a piece of metal float in the air. 

Deborah 
A piece of metal float in the air! Oh, don't be 
angry with me, but was there ever insanity in your 
family? 

Franklin 

And then if a storm would come! The almanac 
prophesies it. 

Deborah 
W-what has a storm to do with it? 

Franklin 
Everything. It's only in a storm that I can prove it. 



FRANKLIN 79 

Deborah 
No ! This is not witchcraft ! This is lunacy ! 

{Coming to him) 
'Tis your poor wits! But you can trust me. I'll 
shelter you and shield you. I won't let any one know. 

Franklin 
{With intensity) 
It's such anxious waiting! Oh, if a storm would 
only come! 

{Rises impatiently and begins to walk up and 
down) 

Deborah 
Ben, dear, rouse yourself. Try to shake off this 
thing that's besetting you. 

Franklin 
What are jeers and scorn, or fatigue and hunger 
when I have a hope like this shining before me. To 
discover what no one else has discovered! To dare 
what no one else has dared! 

Deborah 
{In despair) 
It*s no use! He doesn't even hear me. There's 
nothing I can do. 

Franklin 
I told you a printing press might be a ladder to 



8o FRANKLIN 

the stars. What if I could reach out and touch the 
stars themselves? I'm on the edge of a discovery that 
transcends everything I've ever hoped, a discovery that 
will serve man to the end of time. It's like an omen 
for the future. I'm staking everything on it. Who 
knows! If I can succeed in this I can succeed in all 
the rest. There's nothing that I will be afraid to 
attempt! But if I fail in this 

Deborah 
I will be here to comfort you, my poor demented 
lover ! 

Franklin 
If I can prove this dream of mine a fact there's noth- 
ing in my future that I fear to ask you to share. If 

this comes true 

{Enter Rogers, background) 

Rogers 
Give you good day, Mistress Deborah. 

Deborah 
Oh, Mr. Rogers. Good day. 

Rogers 
{Eyeing Franklin, coldly) 
Mr. Keimer's apprentices seem to have as much time 
as their master. 



FRANKLIN 8i 

Tranklin 
{Suddenly remembering) 
I clean forgot the bills for the East India Company ! 
Keimer'll be back before they are delivered! 

(He runs to press, and begins to tie up bills) 

Rogers 
I met Mr. Keimer. He bid me wait. 

Deborah 
Wait in the house, then. 'Tis far more comfortable. 

Rogers 
{Frowning) 
I will wait here. 

Deborah 
( Taking up her work with an air of detachment) 
As you please, Mr. Rogers. 

{Exit Franklin, background with bills) 

Rogers 
{Menacing) 
Vm not a fool. I see which way the wind is blow- 
ing. I knew what I should find if I came here to-day, 
and I'm prepared for it. 

Deborah 
{Letting fall her work) 
What do you mean? 



82 FRANKLIN 

Rogers 
Your guardian may be blind, but I see which way 
the wind is blowing. You're giving your favors to 
a cracked-brain prentice. 

Deborah 
(Indignant) 
Mr. Rogers! 

Rogers 
YouVe let this scullion printer turn your head. A 
beggarly young whelp from nobody knows where! 

Deborah 
From every one knows where. Ben Franklin is 
as open as the day. Every one knows his history, and 
where he came from. Which is more than folk can 
say of you. 

Rogers 
(Furious) 
Who's been talking to you? 

Deborah 
No one. 

Rogers 
{Taking another tack) 
Wait till Mr. Keimer hears of your fine love ro- 
mance. 



FRANKLIN 83 

Deborah 
{Proudly) 
I've never tried to hide it, 'Tis nothing to be 
ashamed of. I am proud of it. 

Rogers 
Are you such a fool as to waste your heart on a 
beggar when a man of substance wants you ? 

Deborah 
Mr. Rogers! Please! I'm tending shop for Mr. 
Keimer, and I don't wish to be forced to leave. 

Rogers 
You will be forced to leave if the times don't mend. 
'Tis not five months since your people died of the fever, 
and now your guardian's losing money every day. 
What will become of you? 

Deborah 
{With dignity) 
Mr. Rogers, Mr. Keimer is my guardian, and though 
my parents died without leaving me money, I feel that 
my services to Mr. and Mrs. Keimer give me a right 
to a place in their household. 

Rogers 
You should have a household of your own. I've 
money enough to buy and sell half the petty merchants 



84 FRANKLIN 

of this town. Hang it, Deborah! I'm not bad look- 
ing, and I haven't got the plague. 
{He comes close to her) 

Deborah 
Mr. Rogers 

Rogers 
You know )^our people wanted you to marry me. 
They liked me as much as they hated Franklin. You're 
wasting your heart on a brain-sick fool while a real 
man wants you, and I'm going to have you ! 

{He crushes her to him, kissing her. Keimer en- 
ters from background as she wrenches herself 
free) 

Deborah 
{Breathlessly indignant) 
Mr. Keimer! 

Keimer 
Well, Debbie, what's so terrible about a kiss ? Don't 
be a prude, girl. Go and tell Mrs. Keimer I'll be with 
her presently. 

{Exit Deborah, left) 

Rogers 
How are things going, Keimer? 

Keimer 
{With an effort at bravado) 
How should they go? 



FRANKLIN 85 

Rogers 

There are only two reasons for a man's wearing 

his sabbath clothes on a week day. Either he's making 

money, or he's trying to get a loan, and by the sight 

of your face when you came in, you didn't get the loan. 

Keimer 
A man who has a lord for his patron can look as 
he pleases. 

Rogers 
A lord for his patron — then you haven't heard the 
news? 

Keimer 

News? 

Rogers 
Sir William's stolen a march on the good folk of 
Philadelphia. He sailed for London this morning. 

Keimer 
Sir William sailed? You're trying to frighten me. 
It isn't true. 

Rogers 
It is true, Keimer. He passed in his coach not half 
an hour ago. Ask the wharf master if you doubt me. 
I saw him sail. 

Keimer 
Why, this means — this means — ruin! 



86 FRANKLIN 

Rogers 
Keimer, if I were to give you fifty pounds, give, 
not lend it to you, would it help you? 

Keimer 
{Fiercely) 
What do you mean? 

Rogers 
Would it help you? 

Keimer 
{Almost beside himself) 
It would save me — it would 



Rogers 
The money is yours on one condition. 

Keimer 
{Joyfully) 

Name it! 

Rogers 
I marry Deborah to-day. 

Keimer 
You what? 

Rogers 
I marry Deborah to-day. 



FRANKLIN 87 

Keimer 
Too quick. It can't be managed like that. Give 
me ten days, a week. Good Lord, man, what's your 
haste ? 

{Outside the sky has become gradually overcast 
and the wind is rising. As the scene proceeds 
rain begins to fall, and it grows darker and 
darker. Keimer and Rogers are too absorbed 
to notice it) 

Rogers 
To-day. Before you have a scandal on your hands. 

Keimer 
A scandal ! 

Rogers 
If you hadn*t been so blind — always thinking of 
your patron — you would have seen that Deborah is 
head over heels in love with that cracked-brained jour- 
neyman of yours, Ben Franklin. 
{Keimer starts) 
To-morrow or the next day she may be off with him. 

Keimer 
Impossible ! 

Rogers 
Do you want her to marry a madman ? 



88 FRANKLIN 

Keimer 
Mad? How can you prove him mad? 

Rogers 
Last night with these very eyes didn't I see him 
running up and down in Peter Folger's field when 
there was nothing to run for? 

Keimer 
That isn't proof enough. No. No. I tell you 
I won't risk it. 

Rogers 
It can, and shall be done. I've fetched Mallory. 

Keimer 
What? 

Rogers 
Aye, Mallory, the winking parson. He's in there 
now with Mrs. Keimer. He's winked at fifty just 
such marriages as this and no harm done. 

Keimer 
"What if Deborah refuses to say her lines? 

Rogers 
You and Mrs. Rogers are the two witnesses who'll 
swear you heard her say them. 



FRANKLIN 89 

Keimer 

No! 

Rogers 
Do you want your shop sold over your head? Do 
you want Mrs. Keimer on the streets and yourself in 
a debtor's prison? Do you want to fail when the 
money is here before your eyes? 

( Takes out a dust-colored bag with sovereigns in 
it) 

Keimer 
It's not enough to say that he is crazed. I must be 
able to give some proof of it, a proof that every one 
sees 

Rogers 
Fifty pounds, Keimer. You won't get such an offer 
again. 

Keimer 
{Torn) 
I tell you I 

Potts 
{Rushing in through door, background) 
Come, lads! Into the ark with you! 'Tis Noah*s 
flood that loosed! 

{ Br e telle and Justin run in, dripping) 



90 FRANKLIN 

Austin 
Lord! What a downpour! 

(A flash of lightning and a crash of thunder) 

Potts 
Harken to that! 

{They close the door in background. Austin at 
window) 
The rain is less but the wind is more! Whoop! 
That was blast! 

Bretelle 
(To Keimer) 
'Tis a very hurricane, M'sieu! 

{Printers run back to their work. At this point 
the door is burst open from without and 
Franklin dashes in, sopping wet, and in a high 
state of excitement) 

Franklin 
A storm! A storm at last! Out of my way, Bre- 
telle! 

{Pushes Bretelle mide) 
Can't you let me pass, Potts! 

{Whirls Potts out of his way) 
I want my kite! 

{Snatches kite from behind sacking. Runs hand 
into pocket) 
But where's my piece of metal? 

{Looks madly about him) 
Where's my piece of iron? 



FRANKLIN 91 

Potts 
Well, he is crazed for certain! 

Franklin 
{Looking about him frantically) 
A piece of metal! I've got the silk cord and the 
hempen string. But I can't find a piece of iron. 

(Sees huge key in door and wrenches it out of the 
lock before any one can stop him) 
The key! 

{Holds it up, exultantly) 
The iron key! I'll fasten it on my kite! 

{He dashes out the door. There is a flash of 
lightning that shows him in silhouette running 
with his kite) 

Rogers 
What did I tell you, Keimer? Doesn't this prove 
him crazed? 

Keimer 
{With conviction) 
You're right. He should be in a madhouse. 

Rogers 
{Significantly) 
Then vs^hat wt spoke of is a bargain? 

Keimer 
Yes. I'll do my part if you'll do yours. 



92 FRANKLIN 

Rogers 
ril do it fast enough. 
(Gives him money) 
Here's what I promised you. 

(Enter Deborah, left. Stands at the top of the 
steps) 

Deborah 
Mr. Keimer. Come quickly. Mrs. Keimer's so 
afraid of the lightning that even Parson Mallory can't 
quiet her. 

Keimer 
I*m coming, Debbie. Go in. Go in. 
(Exit Deborah) 

Rogers 
It couldn't happen better. 'Twill take but a few 
moments. Come, man! Remember it's to save your 
ward from her own folly. Come! It must be here 
and now, or not at all. 

Keimer 
Aye, that it must. 

(Waves him to steps) 
After you, Mr. Rogers. 

Rogers 
(Bowing clumsily) 
Nay, after you, Mr. Keimer. 

(They exeunt, left. Bretelle stares after them) 



FRANKLIN 93 

Bretelle 
{Frowning) 
What's afoot? If I could put two and two to- 
gether — I know some mischief is afoot. Why should 
Rogers give money to Keimer when Keimer's bankrupt ? 

Potts 
Lord knows! 

{He is not interested) 

Bretelle 
"It must be here and now, or not at all.'* What 
does it mean? 

Austin 
I can't tell you, Frenchy. I wish we had a glim- 
mer o' fire. I'm wet to the skin. 

Bretelle 
And Parson Mallory, the winking parson, he never 
comes here. But now — ! Mon Dieu! Lads, I have 
it! I know why Rogers has given Keimer money. 
Rogers wants Deborah! She's being married to him 
by the winking parson whether she will or not! I'm 
sure of it! 

Austin 
'Tis none of our concern. 

Bretelle 
{Fiercely) 
Aye, but it's mine. I'm off to fetch the magistrate. 



94 FRANKLIN 

Potts 
Not in this storm! 

(He catches Bre telle by the sleeve) 

Bretelle 
Through a hundred storms! 

(Bretelle wrenches himself free and dashes out) 

Potts 
Lord love us! He's as crazy as Franklin! 

(Deborah flings open the door at left, and ap- 
pears on steps) 

Deborah 
(Imploring) 
Ben! Ben! 

(Rogers follows her and seizes her wrists) 

Rogers 
Come on, my dear, or shall I have to carry you? 

Deborah 
Let go my hands. Don't dare to touch me. 

(She twists her wrists out of his grasp and runs 
down steps) 

Rogers 
That's no way for a bride to talk to her husband. 



FRANKLIN 95 

Deborah 
{Defiantly) 
You're not my husband and swearing that I've said 
my lines won't make it true. 
{Keimer enters left) 

Rogers 
Oh, yes, it will, my dear. If folks don't think it's 
legal they've only to ask your guardian and your 
guardian's wife. 

Deborah 
{With spirit) 
Not if I publish from the housetops what you've 
both done. You will be jailed for perjury. 

Rogers 
Who will believe your word against your guardians ? 
{The truth of this sweeps over Deborah. She 
winces as if she had been struck) 

Deborah 
Oh! 

{Catches her breath) 
You're all in league against me! But Ben will 
help me. He won't see this happen. Oh, Ben! Ben! 

Keimer 
{Sneering) 
Aye, call on Ben, and see if a madman can aid you! 



96 FRANKLIN 

Rogers 
You come with me. I'll teach you a wife's duty 
to her husband. 

(As Rogers starts toward Deborah, Franklin 
rushes in from background. He is in an ex- 
alted state of joy and excitement. From now 
on his dreamy manner is entirely gone. He 
feels himself master of himself and his destiny. 
He stands in the doorway drenched with rain, 
his kite trailing on his arm, his face uplifted 
and glorified. Outside only sheet lightning is 
now playing as a background of darkness shot 
with pale flame) 

Deborah 
Oh, Ben! 

Franklin 
Deborah, it's true! All that I hoped! All that I 
dreamed! My discovery's a fact. We can transmute 
electricity! We can bring the lightning to earth and 
make it the servant of man! Out in that storm with 
my kite and my key I've learned a wonderful secret, 
a secret that will revolutionize science. The key was 
all blue flame! The shock of the current ran down 
my arm and burned my hand! Look! It's a mark 
set by one of the greatest forces of the universe ! What 
has been done this hour will last till the world is dust! 
It will work miracle after miracle! Don't you see 
what this means for me ! I can make all the rest come 
true! I can ask you to share my future! 



FRANKLIN 97 

{In the midst of his joy and excitement he becomes 
aware of a chilly silence on the part of those 
in the room with him, Deborah looks toward 
him tremulously^ but says nothing, Franklin 
checks his torrent of words and takes a step 
toward Deborah. Rogers starts forward to in- 
tercept him) 
Deborah, don't you caref 

Rogers 
Stand away from my wife, you wastrel! 

Franklin 
Your wife! What folly is this you're speaking? 

Rogers 
My wife. Married to me as fast as bell and book 
can make it! 

Deborah 
It's not true. They couldn't force me to say my 
lines. 

Keimer 
Be silent. If you don't hold your tongue I'll tell 
why you were forced to marry Rogers. 

Franklin 
{Outraged, stepping toward him, hands clenched) 
You — carrion. 



98 FRANKLIN 

Deborah 
{Imploring) 
Ben! You'll be jailed if you strike your master. 
Remember that I need you. 

Franklin 
{To Keimer, struggling for self-control) 
If it wasn't for that need I'd break every lying bone 
in your body, though I swung for it the next day. 

Rogers 
Come, Deborah. 'Tis time we were setting out. 
{Deborah shrinks) 

Franklin 
No. She stays here. Don't be afraid of him, 
Deborah. 

Rogers 
Who are you to come between man and wife? 

Franklin 
Ben Franklin, printer, at your service. 

{Places himself in front of door, background) 
If you try to cross this threshold with Deborah you'll 
find me ready. 

Rogers 
{Sneering) 
Quakers don't fight. 



FRANKLIN 99 

Franklin 
This Quaker does. 

Potts 
He's got a grip like iron, Mr. Rogers. Don't go 
near him. 

{Enter Bretelle with woman from background) 

Bretelle 
Make way here! Make way! There's some one 
would speak with Mr. Rogers. 
{To Deborah) 
I won't see you come to sorrow, Mistress Deborah. 
I've been to the magistrate's. 

{Rogers turns, looks at woman, is startled and 
then comes to hifnself) 

Rogers 
I've nothing to give to beggars. 

{The woman still stands looking at him) 
Be off. 

{She makes no move to go) 
Why do you stand here? 

Woman 
{Slowly and distinctly) 
You know why. 

Rogers 
Be off, I tell you. 



lOO FRANKLIN 

Woman 
Not unless you go with me. You broke one woman's 
'eart, and now you're trying to break another. I've 
crossed the seas to find you. It's not your fault I'm not 
dead by now. 

Keimer 
Get out of here. March! 

Woman 
Fm that man*s wife and 'e knows it. 

Rogers 
You lie! 

Woman 
I knew j^ou'd say that. 

Bretelle 
It's the truth she's speaking. She's laid her proofs 
and letters before the magistrate. 

Franklin 
(His hand on Bretelle's shoulder) 
How shall we ever thank you for this, Bretelle! 

Woman 
I want justice. 



FRANKLIN loi 

Franklin 

And you shall have it. ( To Rogers) You should be 
jailed for this, you scoundrel. 

Woman 
Do you *ear what 'e says? 

Rogers 
Wrong for once, you damned meddler! You'd have 
me up for bigamy ? Well, ask the girl herself. She'll 
tell you she never said her lines. 

Mrs. Rogers 
Is this true? 

Deborah 
Every vrord of it. 

Mrs. Rogers 
Then you're a free vi^oman this hour, and you may 
thank God for it. What's took from you is not worth 
the keeping. But I'll 'ave my rights whatever 'appens. 
I'll show the world I'm an honest woman, and lawful 
wed. 

{To Rogers) 
Will you come with me quiet or shall I tell the mag- 
istrate that you're 

Rogers 
I'll come with you quiet, you damned, sneaking jade. 
And I'll pay you for this later. 



I02 FRANKLIN 

Franklin 
She came in the back door to get you. Now let her 
go out the front door as an honest woman should. 

(Rogers and Mrs. Rogers exeunt left, Franklin 
turns to Keimer) 
And as for you, you sordid perjurer, do you know 
what it means to force a marriage under the laws of 
Philadelphia ? 

Keimer 
{Keeping behind counter) 
And do you know what it means to take the key of 
a man's house? 'Tis a prison offense. You that prate 
of law remember that I can have the law on you. 

Franklin 
{With power) 
I took a key. You tried to take a woman's reputa- 
tion. Because she was poor you sold her. Because 
she was helpless you tried to smirch her, you 

Keimer 
Leave my house! 

Franklin 
Deborah, come. We'll find another parson and be 
truly married. 

Keimer 
Without the consent of her guardian, the marriage 
will be illegal. 



FRANKLIN 103 

Franklin 
Deborah, no matter what the law can do, no mat- 
ter what people say, will you come to me ? 

Deborah 
No matter what the law can do, no matter what 
people say, I — come to you. 

Franklin 
{Tenderly looking down at her) 
And you don't think me a madman? 

Deborah 
I don't know. I don't care. I only know — ^with 
you — I'm not afraid. 

{As they step out the door where the rain has 
ceased, a rainbow, like an omen of hope glows 
across the sky) 

curtain 



ACT III 

Scene: Franklin s home in Philadelphia twenty years 
later, 

A Colonial room, white woodwork. Gray walls. 
Two French windows in background, opening on iron 
balconies. On each side of these windows draperies of 
Italian blue cotton poplin. The few pieces of furni- 
ture which the room contains are mahogany, with here 
and there a touch of the same blue repeated in a cushion. 

Glass candlesticks on hearth shelf. Between them 
a blue-toned picture. The whole room is stamped with 
an air of frugality and simplicity. 

Blue bell ropes at right and left. Also at right and 
left, toward background, doors giving into other rooms 
of the house. 

A fire burns in the hearth at left. 

In the center of the room a stout table with Leyden 
jars beneath it, and an electrical apparatus on top of 
the table that can easily be concealed by books and 
papers. 

Four members of the Philadelphia Assembly, Mr. 
Knox, Mr. Andrews, Mr. Braithwaite, and Mr. Mur- 
ray are seated about the table. Dr. Franklin, now a 
middle-aged man, yet with vitality and genius in his 
aspect, sits at the table, back, center. There is a hub- 
bub of voices <as the curtain j-ises. ''Give me the list/* 

104 



FRANKLIN 105 

"Youve read the new amendmentV* etc, etc. Dr. 
Franklin rises. 

Franklin 
Gentlemen, I think that this is all we have time for. 
Our recess is nearly over. They'll be expecting us at 
the Assembly. 

Andrews 
{As men gather up their papers previous to de- 
parture) 
And wishing they could hang us. 

Franklin 
You must take that as a compliment to our sagacity. 
The members of the King's party realize that we will 
move heaven and earth to have Galloway chosen as our 
agent. Everything depends on sending a patriot to 
petition the King of England. 

Murray 
Dr. Franklin 

Franklin 
{Sweeping on) 
He must plead the urgency of our cause. Pitt, Fox, 
Burke — great leaders of England, favor us. But the 
king hates us, and those who wish to stand well with 
him hate us also. Always we must bear in mind that 
the king is not an Englishman. He is from Hanover. 
Remember that. 



io6 FRANKLIN 

Knox 
Sir 

Braithwaite 
Dr. Franklin 

Franklin 
Mr. Knox. 

Knox 

I'd follow you blindfold through hell, but I must 
say, sir, that I consider it a hazardous thing for a small 
nation to shake its fist in the face of a big nation. 

Franklin 
Do you read the Scriptures, Mr. Knox? 

Knox 
I do, sir. 

Franklin 
Then you must know the chapter where David put 
out Goliath's eye. 

{The men approach Franklin separately as they 
leave) 

Murray 

We'll fight for Galloway to the last ditch, sir. 

Franklin 
I hope you will. I know you will. 
{Murray and Knox move to door R.) 



FRANKLIN 107 

Braithwaite 
You're coming, Dr. Franklin? 

Franklin 
A little later, Mr. Braithwaite. 

Braithwaite 
I wish you were on the Committee, sir. 

Franklin 
My opponents have tied my hands by keeping ne off 
it. But not my tongue. 

Andrews 
When next we meet, Dr. Franklin, may it be in 
triumph. 

Franklin 
From my heart I hope so. 

{As the members of the Assembly exeunt, Deborah 
enters, left. She still retains her sparkling 
glance. Her dark hair is faintly touched with 
gray. She comes to Franklin with proof sheets 
in her hand, gives a quick look to see that she 
is not overheard, sees that the men who are 
leaving are deep in talk) 

Deborah 
How are things going, Ben? You are looking anx- 
ious. 



io8 FRANKLIN 

Franklin 
I am anxious. You know the Assembly voted to 
send an agent to petition the King of England against 
unjust taxation, and I suggested Galloway, a loyal 
man, a sincere patriot. Everything was going as I 
hoped when suddenly the leader of the King's party 
suggested Dickinson 

Deborah 
Dickinson 

Franklin 
Dickinson, who's a tool of theirs, a puppet, who 
would betray America at his first chance. If the As- 
sembly chooses Dickinson it will be such a calamity 

that 

{Breaks off) 
But I won't think it — I can't think it. 
{He begins to walk up and down) 

Deborah 
Is there nothing any one can do? 

Franklin 
You can give this paper to Mr. Adams if he calls 
for it. It's a list of the resolutions for the Assem- 
bly. 

{Deborah puts it in jar on desk) 

Deborah 
I've been correcting the proofs of your article against 
unjust taxation. 



FRANKLIN 109 



Franklin 
You shouldn't work on your birthday. 



Deborah 
As long as I can't have my present- 



Franklin 
You shall have your present at seven precisely. 
You v^reren't born till seven, you know^. 

Deborah 
Will I like it? 

Franklin 
You'll adore it. 

{He is putting the proof sheets on table, and 
quickly places his hand over hers) 
Take care. That metal box is charged with elec- 
tricity. 

Deborah 
I shan't go near it. I'm not convinced that your 
strange discovery isn't necromancy. 

Franklin 
That's what the world thinks, too. The world that 
deemed me crazy when I flew a kite in a thunderstorm. 
That's why I'll have to keep my experiments a secret 
until — ah, come in, Richard. 

{Enter right, young Richard Austin, very much 
like his father, save that he shows the results 



no FRANKLIN 

of ease and education. He has charm, enthu- 
siasm ) 

Richard 
May I offer greetings to you both, and a special 
greeting to you, Mistress Franklin? Many happy re- 
turns of the day from my father and myself. 
{Presents frilled bouquet) 

Deborah 
Thank you both, my dear Richard. You're the 
image of what your father was at your age. The very 
image. Did you wish to speak to my husband? 

Richard 
Yes. 

{Turns) 
I want to offer my services in the present crisis. I 
hear that you said at the Assembly that at a time like 
this leaders were needed, men with sagacity and fore- 
thought. 

Franklin 
Yes. Aren't you rather young? 

{He and Deborah exchange amused glances as 
scene proceeds) 

Richard 
I shall be nineteen in April, and besides it isn't years 
that count, it's forethought. 



FRANKLIN iii 

Franklin 
I see. You are familiar with our measures In the 
Assembly ? 

Richard 
It is rumored that you want to send Galloway to 
England, but I can't see that It's so terribly Important. 
There is one great thing that has been overlooked. 

Franklin 
Ah! 

Richard 
Suppose Galloway is chosen. Suppose he does peti- 
tion the King. And suppose the King doesn't listen. 
What then? 

{He delivers this speech with the air of a master 
strategist) 

Franklin 
You think I'm flying a kite In a thunderstorm? 

Richard 
{A bit confused) 
No — that is^I 

Franklin 
{Kindly) 
You didn't dream that there might be more than a 
petition? Sit down, Richard. I'll tell you what I told 



112 FRANKLIN 

a secret meeting of patriots two months ago. If the 
petition fails we'll send the agent to France. 

Richard 
(Dazed) 
To France 

Franklin 
To France, who fears King George and his syco- 
phants. To France, who might become our ally. 

Richard 
(Still dazed) 
But we're a mere handful, we've no power, no pres- 
tige. How will France listen? 

Franklin 
She must be made to listen. 

Richard 
And who will make her? 

Franklin 
Galloway. Galloway, who has tact and courage and 
sincerity. That's why it's so vitally important that 
Galloway be chosen. Now you see. 

Richard 
I see I've been a fool. 



FRANKLIN 113 

Franklin 
You must learn to follow before you learn to lead. 
I am in need of followers. 

Richard 
But not such a one as I am. Why, I can't even 
think for myself. 

Franklin 
That's exactly why you're valuable. 

{Letitia appears in doorway, right. She is very 
young and pretty) 

Letitia 
May I come in? 

Deborah 
My dear Letitia! 

{All turn. Letitia curtseys to Dr, Franklin and 
Mrs. Franklin, then comes quickly to Richard) 

Letitia 
Well? 

Richard 
Well? 

Letitia 
Has nothing happened? 



114 FRANKLIN 

Richard 
Happened ? 

Letitia 
{To Franklin) 
Richard was sure that you'd appoint him to some- 
thing — a chairmanship at home, or a secretaryship 
abroad. 

Richard 

{Horrified) 
Letitia! 

Letitia 
Well, you said yourself it was only a matter of 
letting him see how fitted you were 

Richard 
Letitia! You've ruined everything! 

Franklin 
If what I hope will happen does happen, I'm not 
sure that a foreign secretaryship isn't a good suggestion. 

Letitia 
You mean you'd send him abroad? 
{Her face falls) 

Franklin 
Isn't that what you wanted? 



FRANKLIN 115 

Letitia 

It's what I thought I wanted. Will he 

{With elaborate unconcern) 
Does one stay long? 

Franklin 
Five or six years. And a secretary can't marry. 
It would mean waiting 

Richard 
But the opportunities for rising are great? 

Franklin 
Very great. 

Richard 
Letitia, do you feel that you 



Letitia 
{With icy hauteur) 
What possible interest can this have for me? 

{With a sob in her throat) 
Ambition is everything. Women are nothing! 

{She turns from him, Franklin rises, half 
amused, half perturbed. Bretelle enters right. 
Franklin sees him) 

Franklin 
Ah, come in, Bretelle. You want the proof sheets. 



ii6 FRANKLIN 

Bretelle 
Yes, Monsieur. 

Franklin 

{To Richard, clapping Bretelle on the shoulder) 

You'd think to see him that he was just a printer, too 

busy to have an eye on politics, and instead — behold 

an ardent patriot, working for our cause and bringing 

us whatever news he hears. 

Bretelle 
I have some now. Monsieur. Lord Rockminster 
landed this morning. 

{Franklin looks concerned) 

Deborah 
Is it bad news, Ben? 

Franklin 
It isn't good news. Rockminster is a friend of the 
King's. His presence here will strengthen the King's 
party. Come, Richard. 

Bretelle 
Good luck, Monsieur. 

Franklin 
Thank you, Bretelle. 

Deborah 
You know all that I wish you. 



FRANKLIN 117 

{Franklin looks toward Letitia, who is at the fire. 
She turns her head, starts to speak, cannot con- 
trol the quiver of her lips. Turns away her 
head without saying anything. Exeunt Frank- 
lin and Richard. Letitia turns to Deborah, 
the traces of tears on her face) 

Letitia 
Oh, Mistress Franklin, what shall I do? 

Deborah 
Whatever your heart tells you. 

Letitia 
It doesn't speak. It's frozen. He loves his work 
better than me! Can't I go out the side entrance? 
People might think I had been crying. 

Deborah 
You'll excuse me, Bretelle? 

Bretelle 
But certainly! 

{The moment they are gone he begins to spy 
about. Sees proof on table, takes two of the 
under pages and puts them in his pocket. He 
looks quickly at some of the other papers scat- 
tered on the table. Finds nothing of value. 
Tries to lift lid of metal box. The electricity 
stings him. He gives a smothered cry and 



ii8 FRANKLIN 

darts away from the tMe, Speaks in a hoarse 
whisper) 
Black magic! Sorcery! 

(He avoids the box and crosses to desk. Finds 
paper of resolutions but has no time to read 
it. Deborah enters) 
Two of the proof sheets are missing, Madam Frank- 
lin. 

Deborah 
That's strange. Ben must have left them in his 
laboratory. If you'll wait five minutes? 

Bretelle 
But certainly! 

{Exit Deborah, left, Bretelle takes paper of in- 
structions, reads it, swiftly puts it back. En- 
ter riffht. Lord Rockminster, a handsome man, 
richly dressed. He has a pompous manner) 

Rockminster 
I hear that Dr. Franklin is not in. 

Bretelle 
He's gone to the Assembly. 

(With a quick look and lowered voice) 
The coast is clear for at least four minutes, 

Rockminster 
(Lowered voice) 
Well? 



FRANKLIN 119 

Bretelle 
My lord, for months I have spied on Dr. Franklin. 
But I will spy no longer. He is in league with the 
devil. 

ROCKMINSTER 

Nonsense ! 

Bretelle 
{Indicating metal box on table center) 
Touch that, my lord, and see if it is nonsense. 
(Rockminster touches it) 



ROCKMINSTER 



{Stung) 
The devil ! 



Bretelle 
Aye, hell fire, my lord. 

{The two men look at each other gravely) 

Rockminster 
If he dabbles in black magic as folks say, all the 
more reason he should be put down. If he serves the 
devil, you can wear a charm against it, and still serve 
us. Come, Bretelle, don't be a fool. Think of all the 
money you are offered, and the chance to deliver him 
into our hands. 

Bretelle 
I will have nothing to do with sorcerers. 



I20 FRANKLIN 

ROCKMINSTER 

Why should you fear him? For years you've pre- 
tended to be his friend. He likes you. He trusts you. 
You're the last person he'd ever suspect. You've given 
him information that he thinks is valuable. He be- 
lieves you spy for him, and instead you spy for us. 
You told him of my arrival? 

Bretelle 
Yes, when it was too late for him to make a move. 

ROCKMINSTER 

You*re succeeding admirably. What more do you 
ask? 

Bretelle 
You think a charm would save me? 

ROCKMINSTER 

I know it would. 
{Indicates box) 
Has this thing ever happened before? 

Bretelle 
No, my lord. 

ROCKMINSTER 

It may be years before it will happen again. Beware 
of him when he makes experiments, avoid this power 
as you would a pestilence, and you'll be safe. You'll 
serve us? 



FRANKLIN 121 

Bretelle 



Yes, my lord. 



ROCKMINSTER 

What have you found? 

Bretelle 
Dr. Franklin's resolutions for the Assembly. 

ROCKMINSTER 

Good. Take this news to our Committee. We can 
checkmate him. 

Bretelle 

(Loudly) 
You see what printing does to one's hands, my lord. 

(He is spreading out his hands as Deborah enters) 
The acid turns the flesh black. 

Deborah 
Here is the duplicate proof, Bretelle. 

Bretelle 
I thank you. 

(He takes pages, and exits right) 

Rockminster 
I am Lord Rockminster. The servant bid me wait. 

Deborah 
My lord! 



122 FRANKLIN 

(Curtseys with a charming grace. Rock minster 
bows stiffly) 

ROCKMINSTER 

You will pardon my saying that you are somewhat 
different from what I expected? 

Deborah 
(Puzzled) 
Expected ? 

ROCKMINSTER 

And this room — it's in quite good taste for printers, 

Deborah 
(Demurely) 
I'm glad you think so. 

ROCKMINSTER 

(Looking about) 
Quite pretty in fact. Wonderful how the working 
classes thrive in this country. Simply wonderful! 

(Enter Franklin right, followed by Parton, who 
leaves candles and exits) 

Deborah 
(As if introducing a king) 
Lord Rockminster, this is Dr. Franklin. 
(The men bow) 



FRANKLIN 123 

ROCKMINSTER 

I wished to see you on a most important mission. 
May I be assured that we can be alone? 
(Looks at Deborah) 

Franklin 

{Also looking at Deborah) 
Deborah, my love! 

{Exit Deborah) 
Now, my lord. 

ROCKMINSTER 

I come to you, sir, on a most important errand from 
the Prime Minister of England. Although you think 
your plans have been kept secret, England knows that 
you consider an appeal to France. 

Franklin 

{With perfect control) 
Does she, my lord? 

ROCKMINSTER 

King George has watched you with interest. 

Franklin 
{Drily) 
Watched is scarcely the word, my lord. 

Rockminster 
Sir, I mean what I say. 



124 FRANKLIN 

Franklin 
{Tranquilly) 
Usually, my lord, a diplomat means what he doesn't 
say. 

ROCKMINSTER 

We urge you to give up these foolish attempts you 
are making — attempts that are doomed to failure. 

Franklin 
If they are doomed to failure, why are you here, 
my lord? 

ROCKMINSTER 

{Furious) 
Sir 

Franklin 
I will only appeal to France if King George refuses 
to listen to what I have to say against unjust taxation, 

Rockminster 
If you and the British Government could come to 
amicable terms 

Franklin 
What then, my lord ? 

Rockminster 
The British ministry would see you had a place 



FRANKLIN 125 

Franklin 
The ministry, I am sure, would rather give me 
place In a cart to Tyburn than any place whatsoever, 
and for a decoration, my lord, a rope about my neck. 

ROCKMINSTER 

You misjudge us. 

Franklin 
Say rather, I judge you too well. 

ROCKMINSTER 

If you persist 

Franklin 
I shall persist 

ROCKMINSTER 

{With a sneer) 
I see I am dealing with a fanatic. 

Franklin 
If love of country be fanaticism, yes, my lord. 
{Rockminster turns angrily away and comes back 
with an assumption of friendliness) 

Rockminster 
Dr. Franklin, I will be candid with you. I do not 
come from the Prime Minister alone. I represent a 
higher power. 



126 FRANKLIN 

Franklin 
A higher power? 

ROCKMINSTER 

The Baron de Welssenstein. 

Franklin 
{Puzzled) 
The Baron de Weissenstein 



ROCKMINSTER 

One of the names, sir, of the King of England. 
{Takes letter from his pocket) 

The name by which he is known throughout the 
diplomatic circles of Europe. Within this letter he 
offers you any reward that it is in the power of the 
Government to bestow 

Franklin 
(Softly J as he takes letter) 
Reward, my lord? 

ROCKMINSTER 
{Mistaking the softness) 
Ah, you begin to see things in a new light — you are 
thinking 

Franklin 
I am thinking that the Baron de Weissenstein had 
best bestow his reward elsewhere, my lord. 



FRANKLIN 127 

{Pulls bell rope, PartoUj a young servant, en- 
ters^ 
Parton, his lordship's carriage. 
{Exit Far ton) 

ROCKMINSTER 
{In a pale fury) 
Sir, I warn you. For every move you make, we will 
make two. We will outbid you, outrun you, out-gen- 
eral you. If you try for France, look to yourself, and 
to your agent. 

Franklin 
I will, my lord. 

ROCKMINSTER 

I trust you will not regret this, Dr. Franklin. 

Franklin 
I trust not, my lord. 

{Exit Rockminster, right. Franklin stands in a 
brown study, the letter in his hand) 
"If you try for France, look to yourself and to your 

agent " 

{Looks again at letter, musingly) 
Undated. And in the King's handwriting. 
{Deborah enters left, followed by Richard) 

Deborah 
Was it something important? 



128 FRANKLIN 

Franklin 
Most Important. 

{Richard feels from the tone that something is 
brewing, and that Franklin and Deborah want 
to talk alone) 

Richard 
Shall I go, sir? 

Franklin 
No, stay. You may as well hear it now as later. 
The British know I mean to try for France. The 
King of England has tried to bribe me. This man, 
this Rockminster, has given new life to the King's 
party. The moment I entered the Assembly I felt the 
change. There's not a chance for Galloway. 

Richard 
Not a chance! 

Deborah 
And you've no idea who the spy is? 

Franklin 
Not the faintest. I only see that everything I've 

built for, worked for, hoped for 

{He turns abruptly, his voice filled with despair. 
Stands with his back to audience) 

Deborah 
(Her hand on his shoulder) 
We've faced black days before, Ben. 



FRANKLIN 129 

Franklin 
But never so black as this. 

(Faint sound of march music coming nearer) 

Richard 
{Looking out of window, back) 
Torchlight and music. Men are marching. 

Franklin 
The tardy members going to the Assembly. 

Deborah 
Aren't you going, Ben? 

Franklin 
{Wearily) 
There's nothing more that I can do. They know 
my wishes, but I can't impose my wishes on them. 
Richard is to bring me word of their decision. 

( Torchlight comes nearer. Streams through win- 
dows in background. Cries without of ''Ben 
Franklin! Speech! Speech!") 

Deborah 
They're calling for a speech. 

Franklin 
They know already what I want. 

Richard 
And they're going to defeat it. 

Franklin 
No! By heaven they shan't defeat it till I've struck 



130 FRANKLIN 

one more blow. Lord Rockmlnster thought he was 

crushing me. Instead he put a weapon into my hands. 

{He crosses to window, A cheer goes up. He 

begins speaking) 

Men of the Assembly, Fellow Citizens, a lord who 

has lately landed has offered me a bribe if I will desert 

the cause. 

{Dead silence without, then an angry murmur) 
But I've shown him that though we're a young coun- 
try and a poor country, we're not a corruptible country. 
{Cheers) 
We know that taxation without representation is 
tyranny. We know that if we don't hang together we 
may all hang separately! 
{Laughter. Cheers) 
Therefore, choose for your agent a man who is not 
afraid of Kings, a strong man, a man so skilled in the 
arts of diplomacy that he can pit his wit against the 
courts of Europe. You know my wishes. You know 
whom I have in mind. I need not name him to you. 
If a revolution is coming and you would see wrong 
righted, choose Galloway! If you would serve the 
American cause, choose Galloway! If you are patriots, 
choose Galloway, and save your country ! 

{Wild cheers. Then cries of "Galloway" and 
''I^ranklin" growing fainter as music starts up 
and crowd moves away) 

Deborah 
They will choose Galloway. I'm sure of it. 



FRANKLIN 131 

Franklin 
There's a gleam of hope. But in politics you can't 
be sure of anything. 

{Br e telle enters, cat-footed, from right) 
Richard, you are the one to lift our hopes, or dash 
them. 

Richard 
{Going) 
I'll be back the moment I hear, sir. 
{Exit Richard, Franklin sees Bretelle) 

Bretelle 
I came to see if there was anything you wished me 
to do, sir. Any help I could give. 

Franklin 
There's nothing to do but wait, and keep your eyes 
open. A spy is watching me. 

Bretelle 
{Shaken) 
What? 

Franklin 

{Sorting papers on desk) 
I say a spy is watching me. He has attended our 
patriot meetings, and given away our plans. 

Bretelle 
{Moistening his lips) 
Do you know — who he is? 



132 FRANKLIN 

Franklin 
{Innocently) 
If you're as good at catching spies as you are at 
catching information, I may soon find him. Set a spy 
to catch a spy, eh, Bretelle? 

Bretelle 
{Paralyzed) 
What do you mean? 
{Speaks voicelessly) 

Franklin 
{Unconscious of anything amiss) 
You have already spied for us. Go one step further 
and find the man. A sly, a cautious one. 

Bretelle 
{Sees Franklin does not suspect him; begins to 
breathe more freely. Has even a touch of his 
old, sardonic humor) 
I am afraid you overestimate me. 

Franklin 
{Heartily) 
Not a bit of it! I need your help. 

Bretelle 
{Very earnestly) 
And I will give it. You must be patient. He must 
be a very clever spy if he can get ahead of you. It will 
take time 



FRANKLIN 133 

Franklin 
It may take time, but in the end I'll get him. You 
must be my shadow, Bretelle. Go with me every- 
where. Watch all those who watch me. 

Bretelle 
(Graspinff Franklins hand) 
I promise it. I will come back after the meeting. 
Au revoir, Madame, Monsieur. 
{Exit Bretelle left) 

Franklin 
{To Deborah) 
Now, while we wait — your present. 

{Takes something from center table wrapped in 
tissue paper) 
Can you guess what it is? 
( Teasingly ) 

Deborah 
Don't keep me waiting. 

Franklin 
Well then. 

{Gives her the present) 
An electric battery, the smallest and the best I've 
ever made. Perfect in every detail. 

Deborah 
( Trying hard to act pleased) 
Why — why — thank you, Ben, dear, it's — it's lovely! 



134 FRANKLIN 

Franklin 

{Watching her) 
Fm glad you like it. 

Deborah 
I'm charmed with it. 

Franklin 
Deceitful Deborah! You thought you could fool 
your husband. You're disappointed, and you're trying 
to hide it. Well, all good wives who try to hoodwink 
their husbands shall be rewarded. 

{Takes something from behind his back) 
There's your present! 

{Holds up string of milky j perfectly matched 
pearls) 

Deborah 
Pearls! 

Franklin 
For my pearl of great price! 

Deborah 
{Gaily) 
And I've a present for you! 

Franklin 
But It's not my birthday. 



FRANKLIN 135 

Deborah 
All the same, you are to have it. A political locket. 
{Gives him a black enameled locket the size of 
an average envelope. It hangs on a black 
velvet ribbon) 
You can keep important letters in it. 

{As she gives it to him he kisses and holds her 
hand, looking at her) 

Franklin 
I'll keep the King's letter in it. 
{Puts it in locket) 

Deborah 
{Very tenderly) 
Whenever you touch this locket you are to remem- 
ber some one who loved you as her own soul, whose 
greatest happiness was to help you. 
{More lightly) 
Ah, I've had the happiest birthday! Your speech! 
And to hear them cheer you! How they love you, 
Ben. 

Franklin 
That's what Mrs. Galloway is saying to her hus- 
band. It's a great thing to be a statesman. 

{Something in his tone m^akes her look at him 
keenly) 

Deborah 
Ben! 



136 FRANKLIN 

Franklin 
Yes, dear? 

Deborah 
You wanted ft! You wanted to be the agent! 

Franklin 
Galloway *s a good man. I hope from my heart 
they'll send him. 

Deborah 
Ben! You're evading me. Look in my eyes. You 
wanted it. You worked for Galloway and yet you 
wanted It. 

Franklin 
{Half whimsical, half serious) 

Where shall a man confess himself unless to his 
wife? 

{Then J deeply) 

Yes, Deborah, I wanted it. It's always been my 
dream to be a statesman, and that agency will make 
for statesmanship. God! When I think of the op- 
portunity! To strike a blow for America! To rouse 
King George! To make the House of Lords wake 
up and listen! To win! Or perhaps to fail! And 
then to cross the channel, and try for France. To 
fight the fight with no one aiding you. To have noth- 
ing but your own wit to see you through. Amongst 
the constellations of the world powers to see America 



FRANKLIN 137 

blaze a new, splendid star! To know you put her 
there! 

Deborah 
Oh, Ben, if it could have come to you! It would 
have meant that we must part, and yet I'd gladly 
have sent you just for the sake of seeing you come 
back with all your townsfolk cheering you! 

Franklin 
I've had so much to make me happy that I'd be nig- 
gardly to ask for more. Who ever journeys straight 
to the goal ? Who ever reaches all he dreams or hopes 
for? My dear, if it's any consolation to you, the 
agent's mission will be both difficult and dangerous. 
{Richard enters left, in a high state of excitement) 

Richard 
Dr. Franklin! 
{He pauses) 

Franklin 
Don't be afraid to tell me! 

Richard 
Your resolutions were checkmated. But in spite of 

that 

{Again Richard pauses as if uncertain of his voice) 

Franklin 
Richard! Quick! Tell me! 



138 FRANKLIN 

(Andrews, later Braithwaite, Knox and Murray 
enter) 

Andrews 
They chose as you told them to! 

Franklin 
{Amazed, delighted) 
What! 

Andrews 
They chose a man who is not afraid of Kings, a 
strong man, a man who can pit his wit against the 
courts of Europe 

Franklin 
Andrews, for God's sake, tell me! 

Andrews 
They've chosen you, sir! 

Franklin 
They've chosen me! 

Braithwaite 
Who else should loyal Americans choose? Gallo- 
way declared for you as well as the others. They sud- 
denly saw that no one could represent them as you 
could. And the tepid members who didn't know which 
way to choose were swept off their feet. Except the 
King's party, every one was for you. 



FRANKLIN 139 

Franklin 
But this is unparliamentary, unprecedented! 

Andrews 
The times are unprecedented. 

{Bretelle has entered, right. Also Letitia) 

Franklin 
I'll need two men to help me on my mission. Rich- 
ard, you shall be one. 
{To Bretelle) 
And you, old friend, the other. 

Murray 
Your townsfolk are calling you. 

(Cheers and the red glow of torchlight outside 
window) 

Frankun 
Tell them I am coming. 

Letitia 
( To Richard) 
I've come to say forgive me, and God speed you! 

Richard 
You'll wait till I come back? 

{She nods, he draws her toward him) 

Letitia 
If you're too long, I shall come after you. 



140 FRANKLIN 

Deborah 
{To Franklin) 
Oh, Ben, I have great faith in you. But now that 
it's truly come, now that it's a reality and not a dream 
— how will they listen ? It may take years. 

Franklin 
I'll make them listen if it takes a century. 

Deborah 
It will be difficult and dangerous. You just said so. 
And what have you to fight with ? 

Franklin 
I won't fight. I'll work. 

Deborah 
And if that fails you? 

Franklin 
I'll use the oldest weapon known to statesmen. 

Deborah 
And that is 

Franklin 
Strategy. 

{He is leading her to the zirindow in background 
where the cheers are redoubling, as falls the 

CURTAIN 



ACT IV 

Scene I : Franklin s hotel at Passy, 1778, 

A room in pale gray, with white woodwork, evi- 
dently on the second floor. French windows in back- 
ground opening on a snowy, park-like landscape. 

On each side of the window, narrow curtains of rose 
satin. There are doors at right and left, near hack- 
ground, opening into other rooms of the house. Bell 
ropes at right and left. 

A hearth at left, with a Franklin stove set near it, 
the pipe running into the tiled hearth. The grate of 
the stove glows rosily. 

In the center of the room a table-desk with spindle 
legs. On the table, books, papers, and pens hide ex- 
periments with wiring. At right, down stage, Rich- 
ard's desk, and at left a similar desk for Bretelle. 

At right, behind Richard's desk a table with some 
of Dr. Franklin s electrical experiments, innocent look- 
ing to the casual observer, A candle, pens, inkstand, 
etc., etc. Chairs and a settee upholstered in rose satin 
cushions. 

Musical glasses in front of the window in back- 
ground complete the furnishings of the room. 

The time is late afternoon. 

The notes of ^'Yankee Doodle" tinklingly played are 
heard. Dr. Franklin, with white hair and dark brows 
141 



142 FRANKLIN 

from under which his dark eyes look brilliantly is 
seated, at musical glasses — playing. Listening to him 
are savants in robes of the Universities of Paris, and 
ladies of the court, magnificently dressed, their fur 
cloaks over their arms. Bretelle, old and slim, and 
moving with a quick grace, is listening. Near him is 
the Countess de Sarnac, a dark slender woman with a 
bright, hard beauty. 

Franklin 

^Ceasing to play) 
That's the tune that helped us win the battles of 
Lexington and Bunker Hill, and led to the Declara- 
tion of Independence. Now if I could only compose 
one that would help us sign the French Treaty 

{Laughter) 

Mme. de Sarnac 
Success is a tune that accomplishes great things, Dr. 
Franklin. 

Franklin 
{Urbane) 
I am sure of that. Countess. Early in life my wife 
and I discovered it. 



Mme. de Sarnac 
It is so sad to think of those poor soldiers starving 
and freezing at Valley Forge. 



FRANKLIN 143 

Franklin 
The signing of the Treaty would be bread and meat 
to them. 

{Richard appears at doorway, left) 

Richard 
Dr. Franklin, Monsieur Fragonard bids me say 
your portrait Is ready for the inspection of all those 
who wish to see it. 

{Murmurs of interest) 

Franklin 
Ladles, Messieurs the savants, if you would care 



Mme. de Sarnac 
But we would be delighted. 

Richard 
{As he passes out with a lady on his arm) 

It's a wonderful likeness 

{All go out save the Countess de Sarnac and 
Bretelle. The Countess, with a look to see 
that she is not observed, comes quickly down 
to Bretelle) 

Mme. de Sarnac 
We must make a move. To-day 



Bretelle 
But 



144 FRANKLIN 

Mme. de Sarnac 
To-day. At court there is a rumor that the King 
and de Vergennes begin to look with favor on the 
American Treaty. Vergennes is here in Passy this 
moment. A little good news from America, 

{Gestures) 
and the thing is done. Lord Stormount is becoming 
anxious. He urges haste. I tell you we must strike 
to-day. 

Bretelle 
But, Countess 

Mme. de Sarnac 
Unless we do, we are lost. The Baron de Weissen- 
stein will no longer employ us. Are there no papers 
you can take, Bretelle, you who live with Franklin and 
see him daily? 

Bretelle 
But he is so careful! Any important papers he has 
I think he sleeps with, or wears in a political locket 
about his neck. If the American packet would arrive 
with the despatches 

Mme. de Sarnac 
{Eagerly) 
Yes! 

Bretelle 
But it only comes every six weeks. 



FRANKLIN 145 

Mme. de Sarnac 
{With despair) 
Every six weeks! 

Bretelle 
But the six weeks are up. Some time this week 
the packet should arrive. 

Mme. de Sarnac 
This week! I tell you we must strike before good 
news arrives. To-day, if possible. For years the Eng- 
lish put this Franklin off with promises, and now for 
months our Prime Minister has had reason to hesitate. 
But men who won't give up always win in the end. 

Bretelle 
He won't win! He can't win! 

Mme. de Sarnac 
He will win, unless we strike to-day. I tell you 

he 

{She is warned by -a look from Bretelle and stops. 
Glances toward left, and sees Richard enter- 
ing) 

Richard 
{Bowing, coming down) 
Countess ! 

Mme. de Sarnac 
I was just looking at this first edition of Poor Rich- 



146 FRANKLIN 

ard's Almanac. All good advice and not a hint of sen- 
timent. You are so droll, you Americans! You never 
speak of the tender passion, and yet I hear youVe 
made a love match, and are counting the days till you 
return to America. 

Richard 
And is that strange? 

Mme. de Sarnac 
To speak of one's lover — no. But to speak of one's 

wife — as Dr. Franklin does 

{^Laughs, shrugs, raises her eyes to heaven. Then, 
quickly, to Bretelle, with the utmost demure- 
ness) 
Thank you, Monsieur, for showing me this book. 

{Bows to Bretelle and Richard) 
Now that the others have had their turn, I'll see the 
portrait. 

(Exits with languid grace, left) 

Richard 
Too bad to Interrupt you, Bretelle, when you were 
trying to gain information. 
{Indicates door left) 
She said — nothing? 

Bretelle 
Nothing. I tried to sound her on the subject of 
the King and the Treaty, and she said nothing. I 
doubt. Monsieur, if she's a spy as Dr. Franklin thinks. 



FRANKLIN 147 

Richard 

Of course she's a spy. That room 

{Indicates left) 
Is full of spies. People who come to hear what they 
can hear and see what they can see. And presently 
the Duchess de Cleary will be coming, so that she 
can report all she hears to the Prime Minister. He is 
in Passy to-day, I understand. 

Bretelle 
Hush! 

{Looks warningly at Richard as Mme. de Sarnac 
reenters) 

Mme. de Sarnac 
A wonderful portrait! Charming! 

{Bretelle goes slowly up, and exits left) 
This room is filled with the most fascinating things. 

{Comes to table) 
What is this, Monsieur? 

Richard 
One of Dr. Franklin's electrical experiments. 

Mme. de Sarnac 
{Insinuatingly) 
If I could only see It 

Richard 
No one is ever allowed to see it. Not even myself. 



148 FRANKLIN 

{From left people come back into room with mur- 
murs of "Fragonard at his best/' ''Such 
charm!'* ''Such truth!" etc, etc. As they are 
entering there also enters from right, the 
Duchess de Cleary, a very pretty woman. She 
comes face to face with Franklin) 

Franklin 
Duchess, this is very good of you. 

Mme. de Cleary 
Oh, those stairs! I am so out of breath! And yet 
I wanted to be the one to tell you 

Franklin 
Tell me? 

Mme. de Cleary 
The American packet has arrived. 

Franklin 
The American packet! 

{At these words every one in the room turns. 
There is a sense of expectation and subdued 
excitement) 

Mme. de Cleary 
And the American messenger is coming with your 
dispatches. 



FRANKLIN 149 

Franklin 
But are you sure? 

Mme. de Cleary 
I'm certain. He asked my coachman the way to 
this hotel and understood with difficulty. Oh, I do 
hope it is good news. 

Mme. de Sarnac 
We shall be so anxious to hear it. 

Richard 
{At window J back) 
Dr. Franklin, it is the messenger. 

Mme. de Cleary 
I have never been more excited, more anxious ! This 
is as tantalizing as any moment at the opera! 

Mme. de Sarnac 
Yes. And to think whatever the news is, we shall 
hear it first! 

{All keep their eyes on Franklin throughout scene. 
Enter Parton, left) 

Parton 
Mr. Bradley with the American dispatches. 

{Enter Bradley, in a dress suggestive of the fron- 
tier. He looks blue-white and ill. Black cir- 
cles under his eyes. Even his lips are white) 



150 FRANKLIN 

Franklin 
Welcome, Mr. Bradley. How was your voyage? 

Bradley 
Very rough and cold, sir. 

{Holds edge of desk, swaying a little) 
The — the important letter is the one in blue and red 
— blue and red— — 

Franklin 
{With instant concern) 
Why, Mr. Bradley, you look ill! You need warmth 
and food. 

{To Parton) 
Parton, see that Mr. Bradley has everything he 
needs. 

{To Bradley) 
I will be with you soon, sir. 

Bradley 
I — thank you. 

{Exeunt Bradley and Parton. Franklin opens 
bag, takes out American packet bound in blue 
and red. Opens it. Reads a few lines. His 
face lights with surprise and rapture. He 
makes a gesture of delight) 

Franklin 
{With a cry of happiness) 
Richard! 



FRANKLIN 151 

(Quickly grasps Richard's hand) 
Ah, my dear boy! My dear boy! 

{He appe^ars for a moment quite overcome with 
emotion) 

Mme. de Sarnac 
Then it's good news? 

Franklin 
{Still holding Richard by the arm) 
Ladies, you must forgive an old man's emotion! 

Mme. de Cleary 
{Quickly) 
Has there been a battle? 

Franklin 
{Rapidly and with joyful emotion) 
Ah, no, Madame. Had there been a battle the Brit- 
ish Ambassador, Lord Stormount, would have heard 
of it as soon as L 

{He speaks with a smile) 
The greatest triumphs are not always won through 
battles. 

{His face lights victoriously) 
There are the triumphs of statecraft! 

Mmes. de Sarnac and de Cleary 
Statecraft! 



152 FRANKLIN 

Franklin 
I wish I might share my news with you. But for 
the present it must remain a secret of state. 



Mme. de Sarnac 
But we shall know it soon? 

Franklin 

(Joyously) 
Yes. Soon. 

(To Richard, gaily) 
Ah, Richard, if we could only look ahead when 
things seem darkest! 

Mme. de Sarnac 
(Aside to Bretelle) 
News which can make him so happy — so trium- 
phant 

Mme. de Cleary 
(Purringly) 
You have worked so many years for your country, 
and now you feel your faith in yourself is justified. 

Franklin 
Duchess, my faith is always in a Higher Power. 

Mme. de Sarnac 
He must mean General Washington! 



FRANKLIN 153 

Franklin 
Fortune brings in the ship, as the Dutch say. 

A Lady 

Perhaps it means the Dutch will make a loan if we 
do not. 

{Silent sensation) 

A Savant 
We must let Dr. Franklin have time to read his 
letters. Our presence here delays him. 
(Movement of departure) 

Mme. de Cleary 
I'm sure there's much work to be done. 

Mme. de Sarnac 
{With a look at Bretelle) 
Yes, work for everybody. 

Franklin 
But my dear Messieurs — ladies 



Mme. de Cleary 
I do assure you we only intended to stay an instant. 

A Savant 
That's true, Monsieur. 

Franklin 
But let me 



154 FRANKLIN 

Mme. de Cleary 
I have forbidden that you see us to our coaches. I 
still forbid it. 

{Bows, curtseys J general leave taking) 

Franklin 
Then let Mr. Austin 

Mme. de Cleary 
I will not hear of it. 
{Exit Mme. de Cleary) 

Franklin 
But surely 

Mme. de Sarnac 
Bretelle may take my wraps, if he wishes 



Franklin 
Bretelle ! 

{Bretelle takes Countess' wraps) 

Mme. de Sarnac 
I leave you with my sincerest felicitations. 

{Exeunt Mme. de Sarnac and Bretelle. She has 
left her muff behind her on settee, right, and 
has looked meaningly at Bretelle. But in the 
general leave taking this has not been noticed. 
The Imt of the guests have bowed and gone. 
Dr. Franklin stands at table, center) 



FRANKLIN 155 

Franklin 
Are they quite gone? 

Richard 

{At window) 
Almost. 

{Turns to Franklin) 
Now for the good news. 

Franklin 

My dear friend, it isn't good news. It's bad news. 

Richard 
{Stunned) 
What ! But you just said 



Franklin 
{Rapidly J yet with emotion) 
At this moment, when the Treaty is hanging in the 
balance, when one word might mean life or death, do 
you think I'll let such disastrous news as this be known. 
It's the secret report of the American Committee of 
Finance. Only General Washington and the Com- 
mittee know its contents. They have found our re- 
sources are nearer exhaustion — our credit lower than 
any of us have dreamed. 

Richard 
Would this affect the Treaty? 



156 FRANKLIN 

Franklin 
Yes. If the French knew how we stood at present 
it would frighten them. France has been nobly gener- 
ous to us, yet consider her position: — a German king 
on the throne of England, a host of aggressive German 
states on her very borders. Even if she desires to help 
us she must move carefully. And we — good God, how 
careful we must be lest we lose France's influence 

Richard 
{Bewildered) 
Yet strategy 

Franklin 
{With power) 
What is a general but a strategist? Richard, all 
my life I've fought fairly. I've played with my cards 
above the table. But now, with spies on every side 
of me, now, for my country's sake, I fight fire with 
fire. Could you not see the Duchess watch me like a 
cat? She fairly raced here to glean the news, and 
now she's racing back. 

Richard 
Back? 

Franklin 
To the Prime Minister, Vergennes. Do you forget 
that he is here in Passy, within a stone's throw? And 
then, that woman's blunder about Holland! Hah! 



FRANKLIN 157 

If Vergennes thinks Holland Is in the air, he'll want 
to sign the Treaty. I tell you, Richard, with that 
Treaty signed, America is saved. Without it, she is 
damned. 

Parton 
{Entering) 
The Abbe Morrellet. His Reverence bids me say 
that his foot still troubles him. He cannot climb the 
stairs. His coach waits at the side entrance. 

Franklin 
Tell his Reverence I will be down at once. 

{Exit Parton) 
I must not keep his Reverence waiting. 

{To Richard) 
Begin work on the dispatchec, and sift the letters. 

Richard 
Yes, sir. 

{Exit Franklin left. Richard takes letters and 
dispatches to his desk. Sits down. Opens a 
letter and begins to read. Parton enters in 
agitation, from right) 



Mr. Austin- 



Parton 
Richard 



{Absorbed) 
Yes? 



158 FRANKLIN 

Parton 
Mr. Bradley, our American Messenger, is quite ill. 
I do not know whether I should interrupt the Doctor 
and the Abbe, or send for a physician. 

Richard 
{Beginning to gather up papers) 
Tell Bradley I'll be down in a moment. Stay with 
him till I come. Ill answer for it. 

Parton 

Yes, sir. 

{Exit Parton, right. Richard quickly and deftly 
picks up letters and dispatches and puts them 
in drawer of his desk. Locks drawer. Then 
gives it a little pull. It stands firm. Slips 
key into his pocket. Exits hastily, right. The 
moment he is gone the door at left opens 
cautiously, and Bretelle peers into the room. 
Enters quickly, carrying a bunch of keys and a 
long ledger. Comes directly to center desk. 
Cautiously and siuiftly unlocks drawer, thrusts 
in his hand. Finds nothing that he wants. 
Closes and locks drawer. Crosses to desk at 
right. As he crosses Parton enters from right 
with a magnificent looking letter on a silver 
salver. Bretelle looks round innocently) 

Parton 
For Dr. Franklin. 



FRANKLIN 159 

Bretelle 
I will tell him. 

(Exit Parton. Bretelle immediately goes to desk 
right. Opens it in same manner as desk at 
center. Extracts red and blue dispatch. Puts 
it in his ledger. Closes drawer and locks it, 
and is just turning when Mme. de Sarnac en- 
ters. She speaks to him in a low voice as she 
crosses for her muff) 

Mme. de Sarnac 
You have succeeded? 

Bretelle 
{With equal caution) 
Yes. 

Mme. de Sarnac 
{Same) 
You can escape at once. There's no one watching. 
{Bretelle gives her his keys and the dispatches. 
As he is doing so, and before she h-as quite 
concealed the dispatches in her muff Richard 
enters suddenly, left. He stops short at sight 
of her. 

Richard 
Countess ! 

Mme. de Sarnac 
I was so stupid. Forgot my muff with some of my 



i6o FRANKLIN 

jewels in it. I did not like to send my footman up 
for it. One must not put temptation in another's 
way. 

Richard 
They're safe, I trust? 

{He looks at her keenly) 

Mme. de Sarnac 
Perfectly. Adieu, Monsieur. 

{She curtseys and edges toward door, right. Bre- 
telle edges after her) 

Richard 
{Bowing to Mme. de Sarnac) 
Don't go, Bretelle. I want to consult you about 
Mr. Bradley. 

{Bretelle pauses, uncertain whether to go or stay. 
Mme. de Sarnac exits) 
Frangois is saddling a horse for me. Mr. Bradley 
has been taken with a chill. We need a doctor and 
supplies. 

{Bretelle looks relieved. Franklin enters, left) 

Franklin 
Is Bretelle here? 

Bretelle 
I was just going to Mr. Bradley. 



FRANKLIN i6i 

Franklin 
Mr. Bradley seems better, but we can't be too care- 
ful. Here's the list of what we need. 

{He starts to give Richard the list. As he is 
doing so Richard opens his desk and gives a 
cry of alarm) 

Richard 
Dr. Franklin! The dispatches! They're gone! 

Franklin 

{Startled) 
Wait, Bretelle. 

{Nervously grasps Bretelle' s arm) 
What do you mean? 

Richard 
I locked them in my desk, and they are gone! 

Franklin 
You're certain? 

{He releases Bretelle j who looks uncertain 
whether to go or to stay it out) 

Richard 
I locked them there before I went to Mr. Bradley. 
{He pulls himself together, hut it is evident that 
he is struggling with strong emotion) 

Franklin 
But no one's been here except those whom we trust. 



1 62 FRANKLIN 

Bretelle, you must help us sift this thing to the bot- 
tom. Who has been in this room since I left it? 

Richard 
No one except Bretelle. 

{And as an after thought) 
Oh, and the Countess! 

Franklin 
The Countess! 

Richard 
{Excitedly) 
She forgot her muff and came back for it, and now 
that I remember it, she was putting a paper in it. 

Franklin 
Well? 

Richard 
I — I — well, the truth is, it was Bretelle who gave 
it to her! 

Bretelle 
Dr. Franklin, I appeal to you. I gave no paper 
to the Countess. Monsieur Richard suffers from an 
hallucination. 

Richard 
I am not given to hallucinations. 



FRANKLIN 163 

Franklin 
Bretelle, for years some one has been selling me to 
King George and his followers, and I have sworn 
that some day I would get him. If I thought that 
it was you — ^yow whom I have always trusted, whom 
I have cherished as a friend 

Bretelle 
I swear it is not I ! 

Franklin 
You and the Countess, often together, we thought 
that you w^ere gaining information from her, and in- 
stead 

Bretelle 
If this thing were true, I could have escaped while 
you and Richard were talking. 

Franklin 
A step toward that door in such a crisis would have 
proved your guilt, and you are clever enough to know 
it. 

Bretelle 
Do you condemn me without proof ? 

Franklin 
I have the proof of a hundred memories of things 
that you have done that now seem significant. 



1 64 FRANKLIN 

Bretelle 
You have no certainty of what you say, Monsieur. 



Franklin 
That is true. But I will have certainty. 

(To Richard) 
Richard, send Frangois to the village, and mean- 
while leave word that I am not to be disturbed for 
the next half hour unless I ring. You may say that 
important news precludes my seeing visitors. Will 
you remain downstairs, and see that no one leaves this 
house, or enters it? 

Richard 
(A bit awed) 
Yes, Doctor. 

(Exit Richard. Franklin turns to Bretelle) 

Franklin 
.Now, Bretelle, I ask you. What were the papers 
that Richard observed you giving to the Countess? 

Bretelle 
I gave no papers to the Countess. 

Franklin 
Bretelle, for many years you have been paid to spy 
on me. Fll give you twice as much as you've been 
offered to get the information I desire. 



FRANKLIN 165 

Bretelle 
I've told you that I have no information* 

Franklin 
Be warned, Bretelle. Now that my eyes are open 
I read you like a book. You thought you could sell 
me. You thought it was only on human power I was 
relying. You were wrong. You may tamper with 
me, Bretelle, but be careful how you tamper with the 
Prince of the Powers of the Air. 

Bretelle 
(Finffers the charm huriff about his neck rapidly. 
Twilight falls) 
Monsieur means? 

Franklin 
I only say, be careful. I give you one more chance. 
Are you willing to swear and to sign a paper to the 
effect that you have not touched the dispatches? 

Bretelle 
{Relieved, ceasing to finger his charm) 
Yes, Monsieur. Quite willing. And when I have 
done so, Monsieur will let me go? 

Franklin 

What reason could I have for keeping you? 

Bretelle 
Then I am ready. 



1 66 FRANKLIN 

(He stands at Franklin s desk, Franklin, seated 
at his desk, pushes forward a book. Through 
all that follows he manipulates the wires on 
his desk very quietly, his eyes fixed on Bre- 
telle. Bretelle starts to put his hand on the 
book) 

I swear that I had nothing 

{The book bursts into blue flame beneath his 
hand. He finishes with a gasp) 
Nothing whatever to do with the dispatches. 

Franklin 
Now you may sign. Ink and pens are on the table 
yonder. 

Bretelle 
{Beginning to be afraid, and fingering his charm) 
It is too dark. 

Franklin 
{Grimly) 
You will be lighted. 

{Just as Bretelle sits down a large candle on the 
table appears to light all of itself. Bretelle 
rises nervously and then sits down again. 
Starts to dip his pen in the ink well. Blue 
sparks fly upward. He drops the pen\, 

Bretelle 
Monsieur ! 



FRANKLIN 167 

(As he turns toward Franklin ^z white light flares 
out on the table and vanishes. Bretelle gives 
a cry, clutches the table edge) 
It's sorcery! 

Franklin 
{With mounting anger) 
Bretelle, I warned you not to tamper with me. 
Why, as you sit there I can see your past rise around 
you. I know you now for what you are. You ate 
my bread, you shared my roof, you took all the ad- 
vancement I could give you, and you betrayed me. 

Bretelle 
Never ! 

Franklin 

Don't lie to me. Your very soul is clear to me. 
Incapable of honest effort yourself, you hated all those 
who succeeded by it. You hated me, yet you pre- 
tended friendship. You would have defeated my ef- 
forts here in France, you did defeat them in London. 
{Suddenly, with his hand on his locket) 

You attended our patriot meetings in America — 
My God! I see it now! It was you who would 
have blasted my life, my happiness. 

Bretelle 
{Cowering) 

No! 



1 68 FRANKLIN 

Franklin 
{Sweeping om) 
You are not even a paid spy working for your 
country's good. You are a human jackal, without 
feeling, without mercy. Before you went to America, 
what was the deed that caused you to leave France ? 
(Bretelle starts) 
I see it written in your face! 

(Watches him keenly to see what this guess will 
do) 

Bretelle 
No! No! No! I swear I had no hand in that! I 
swear it! 

{Grabs pen, speaks pantingly) 

I'll sign, I'll sign- 

{The room has been gradually darkening. Bre 
telle starts to dip pen into ink well. Red 
sparks fly up from it. He drops the pen, his 
face livid) 

Franklin 
If that pen disturbs you, another is in the box be- 
side you. 

{Bretelle hastily tries to open the box which con- 
tains the battery, fumbling about it hastily, 
gropingly) 
Lift the handles. 

{Bretelle lifts what he thinks are the handles, 
pulls at them, and Franklin switches on the 
current) 



FRANKLIN 169 

Bretelle 
{Writhing) 
Oh, holy Saints! I'm being murdered. It's witch- 
craft. Ten thousand devils prick me. I will confess. 
I gave the papers to the Countess! 

Franklin 

What will she do with them ? 

Bretelle 
She'll give them to Lord Stormount. 

Franklin 
But he's in Holland. 

Bretelle 
He will come back and face you — publicly. 

{Strong white light shines on the table and van- 
ishes) 
That's all! That's all, I swear! 

{Franklin switches off current^ and Bretelle drops 
in a limp heap in his chair) 
Holy St. Mercury! 

Franklin 
( Tersely ) 
Get up. 

Bretelle 
What are you going to do with me? 



I70 FRANKLIN 

Franklin 

Tm going to put you where your fangs won't poison 
people. Which will you choose, the prefect of police, 
or a sea voyage? 

Bretelle 
{In a whisper, his eyes wide with terror) 
I'll choose — the voyage. 

{Enter Parton with branched candlesticks which 
light up the room. He places them) 

Franklin 
Parton, Monsieur Bretelle is going on a sea voyage. 
You will accompany him as you did the spy in London 
six years ago. Here is a letter to the captain of the 
American packet at Auray, and traveling money. 

Parton 
Sir, have you seen the letter that came a short time 
since ? 

Franklin 
{Glancing toward it) 
Ah, thank you, Parton. 

{Parton crosses to Bretelle) 
Monsieur Bretelle may need assistance. His nerves 
are shaky. Let him lean on you. 

{Franklin pulls bell rope right, as Parton and 
Bretelle exeunt. Then Franklin reads the 
letter which Parton brought, very thought- 
fully. Richard enters, left) 



FRANKLIN 171 

Richard 
Dr. Franklin, have you discovered the whereabouts 
of the dispatches? 

Franklin 

{Looking up from his letter) 
Yes. 

Richard 
Thank heaven! But you don't seem excited! 

Franklin 
I have been reading an Invitation. On Thursday 
of next week we are Invited to be the guests of the 
King and Queen of France In order to sign the Treaty. 

Richard 
Then it's come true at last ! All that you've striven 
for! It's glorious! Stupendous! Think what you've 
done for your country! 

Franklin 
{Deeply) 
I am thinking. 

Richard 

Your dream Is realized! 

Franklin 

My dream turns out a nightmare. Richard, we're 
sold. Bretelle has played the spy and given the finan- 



172 FRANKLIN 

clal papers to De Sarnac. She'll give them to Lord 
Stormount. 

Richard 
But he's in Holland. 

Franklin 
By traveling at top speed he can be back by Thurs- 
day. 

Richard 
Thursday — ^You don't mean 



Franklin 
Yes. He'll face us at Versailles, so our defeat will 
be a public one. De Vergennes will refuse to sign. 

Richard 
Arrest Bretelle! 

Franklin 
And have the police question him, and spread the 
report of America's finances even further? I want 
him out of the way. I've oriented him. 

Richard 

Arrest the Countess. Take the papers from her! 

Franklin 
Arrest a woman of rank in her own country, and 
bring the monarchy about our ears? You are mad! 



FRANKLIN 173 

Richard 
There's one more way. Refuse the invitation. 
Don't go to court. 

Franklin 
I must think. 

Richard 
Don't accept it. We'll be discountenanced, humil- 
iated, the laugh of Europe. I see it all. We're 
trapped — trapped on all sides. Nothing can save us 
but a miracle, and miracles don't happen. 

Franklin 
We must make one happen. This is the time to 
fight, not turn our backs and run. Versailles shall be 
our battle ground. Only, in place of gunpowder we'll 
use strategy; diplomacy instead of muskets. We'll 
deal Lord Stormount thrust for thrust, and blow for 
blow. 

Richard 
But how? 

Franklin 
Wait until Thursday. 

curtain 



ACT IV 

Scene II: The Hall des Ambassadeurs, Versailles, 
France. 

A long narrow hall in pale gray, flanked at right 
and left by walls of the same neutral color. 

At right, a door leads into another room. 

All across the background hangs an arras of cloth of 
gold starred with white fleur de lis. Against this, 
center, a black lacquered table and chair. Gold 
sconces filled with candles jut from the walls at right 
and left. 

There is a blaze of splendor. People are promenr- 
ading, and music plays faintly off stage. As soon as 
the curtain has risen the music stops. 

Amongst those present are Mons. Girard, the Count 
de Vergennes, Mme. de Sarnac, the Duchess de Cleary, 
Ladies of the Court, Foreign Diplomats, Envoys. A 
Cardinal in his red robes. 

Mme. de Sarnac 
(Tapping Girard zvith her fan) 
Monsieur Girard! 

Girard 
(Turning) 
Mme. de Sarnac, charming as always. 
174 



FRANKLIN 175 

Mme. de Sarnac 
Tell me, you who know everything 

GiRARD 

Oh, no, Madame, only the half of everything. And 
then I try to guess the other half. 

Mme. de Sarnac 
Tell me, is it true that when Dr. Franklin arrives 
this hall must be cleared ? 

Girard 
I fear so. 

{They pass, talking, A Court Lady and the 
Duchess de Cleary come down) 

Mme. de Cleary 
No one can talk of anything but America's victory, 
Dr. Franklin, and the loan. If there's any more 
crowding we shall have to stand on tiptoe and look 
over each other's shoulders. Some one has just asked 
me how they are to know Dr. Franklin, and if he will 
wear gold brocade and jewels. And I told my ques- 
tioner, "Look for the simplest man In the room. That 
will be he!" 

{They pass J talking) 

Mme. de Sarnac 
{Coming down on the arm of a Russian Diplo- 
mat, wonderful in sables) 



176 FRANKLIN 

That's the Queen's favorite air they're playing. The 
King and Queen are in the next room. Did you 
know? 

{Two people come up to them. The Diplomat 
bows, and begins to talk. The Duchess de 
Cleary comes up to Mme. de Sarnac) 



Mme. de Cleary 
Lord Stormount, the British Ambassador, has just 
arrived. I thought he was in Holland. 

Mme. de Sarnac 
He's just come back, post haste. 

Mme. de Cleary 
It's strange that he should be here on the night we 
honor a great American. 

Mme. de Sarnac 
I think it shows great nonchalance, great courage. 

Mme. de Cleary 
I think it shows he wants nothing to pass which he 
does not report to his government. 

(Mme. de Sarnac bows to Mme. de Cleary j and 
moves languidly to left, where she is instantly 
joined by Lord Stormount, a pompous, red- 
faced individual in scarlet velvet) 



FRANKLIN 177 

Mme. de Sarnac 

(Gaily) 
I was afraid you might be late. 

(In a lower voice) 
You got my letter? 

Stormount 
Yes. I left at once. 

Mme. de Sarnac 
Here is the original dispatch. Fve sent a copy to 
the King of England. 

Stormount 
Madame, you are incomparable. This piece of 
paper will keep another piece of paper from being 
signed. 

GiRARD 
(To a lady, right) 
The other plenipotentiaries have arrived. Mr. 
Adams is already here. But Dr. Franklin is late. I 
hear the crowd about his carriage is so great that he 
can scarcely make his way. All along the road from 
Passy to Versailles people have stood to cheer him. 

(As she speaks, Letitia, who has been standing in 
the crowd right, moves forward, and comes 
face to face with Richard, who enters left) 

Richard 
{Hardly able to believe his eyes) 
Letitia! 



178 FRANKLIN 

Letitia 

(Very happy) 



Richard ! 



Are you a dream? 



Richard 



Letitia 
No. I'm an impatient reality. I began to think 
you were never coming home again, and so I came 
for you. 

Mme. de Cleary 
( To u diplomat) 
They're going to clear the hall. Dr. Franklin must 
be coming. 

{A lackey enters from left, carrying a wand, each 
end tipped with a golden hall. This he car- 
ries before him. The people understand the 
signal. There is a general movement towards 
the door right. De Vergennes, slight and 
distinguished, steps forward from right, fol- 
lowed by Mons. Girard. The people back 
of him stop ^ moment, looking eagerly toward 
left. Franklin enters, left, dressed in plain 
black velvet, with white linen ruffles. His 
white hair is worn straight and without a 
queue, lie wears no ornaments save his 
political locket. Richard stands waiting, left. 



FRANKLIN 179 

De Vergennes 
(Bowinff) 
Dr. Franklin, in the name of France, I bid you 
welcome. 

Franklin 
Count de Vergennes, in the name of America, I 
thank you. 

{All the people have gone out, save those who are 
to sign the treaty , and Lord Stormount, who 
lingers) 

GiRARD 

Their majesties bid me say that they await you. 
{As de Vergennes J Girard and Franklin, fol- 
lowed by Richard, approach room at right, 
Stormount starts in front of them) 

Stormount 
Count de Vergennes, one moment. Before the 
papers of the French and American Alliance are signed, 
there is a matter with which I, as British Ambassador 
to the Court of France, feel it my duty to acquaint you. 
{De Vergennes and Girard show the utmost sur- 
prise. Each looks apprehensive. Only Dr. 
Franklin preserves a tranquil front, looking 
as if nothing had happened) 

De Vergennes 
My lord, this is most unusual. 



i8o FRANKLIN 

Stormount 
I beg you to go no further with the American 
Treaty till you have heard me. 

GiRARD 

{Startled) 
The American Treaty! 

Stormount 
Hear me or not, as you like, but after the Treaty 
is signed, remember that I tried to warn you. 

GiRARD 

My lord, have you thought of the consequences of 
this action? Can you step between two powers? 

Stormount 
I can warn a power to which my country is still 
friendly. 

De Vergennes 
But does this matter concern Dr. Franklin? 

Stormount 
Unhappily, yes, Monsieur. 

Franklin 
"Unhappily?" Then by all means. Count de Ver- 
gennes, I beg you to hear it. 

{They go to t^ble background) 



FRANKLIN i8i 

De Vergennes 
What is it you have to say, my Lord Stormount? 

Stormount 
{Ignoring Franklin and speaking to Vergennes) 
Monsieur, in dealing with America you think you 
are dealing with an impoverished nation to which your 
country has lent money. But do you know how deeply 
impoverished? Has the report of the Committee on 
American Finance been shown you? 

De Vergennes 
{Puzzled) 
I think not, my lord. 

Stormount 
Pray then, examine it. 
{Gives him dispatch) 

De Vergennes 
But how was this dispatch obtained. Monsieur? 

Stormount 
It was taken from Dr. Franklin's house by a friend 
of France and England. 

De Vergennes 
A friend of France and England ? You mean a spy, 
my lord? 

Stormount 
The fortunes of war, Monsieur. But whether taken 



1 82 FRANKLIN 

by a spy or not, the facts are accurate. For the sake 
of France you cannot ignore them. The seals and 
signatures are genuine, read for yourself. "In spite 
of all that France has lent us our resources are lower 
than any one has dreamed, our credit is at a discount. 
Heaven alone knows how long it will be before we 
can make financial readjustment." 

De Vergennes 
{Startled) 
Ha! 

{He looks at paper closely) 

Stormount 
Will you sign a Treaty with a country that is bank- 
rupt, tho' her plenipotentiary tries to hide the fact 
from you? 

De Vergennes 
Dr. Franklin, I am forced to ask you, what of this 
statement ? 

Franklin 
{Tranquilly, his hand on his locket) 
Monsieur, if France desires to withdraw from the 
Treaty there are other countries who will make terms 
with us. 

Stormount 
{Insolently) 
If this is not an American boast, sir, name the 
country. 



FRANKLIN 183 

Franklin 

Your own, my lord. 

Stormount 
{Outraged) 
That's false! 

De Vergennes 
Lord Stormount! 

Stormount 
Monsieur, a copy of this paper was instantly dis- 
patched to the King of England. For a week his 
Majesty has known what all the world will soon know 
— the financial pit into which America has fallen. 

Franklin 
{To Stormount) 
Yet in spite of that fact, your King still covets the 
advantages that America's future commerce might 
bring him. I beg you to peruse this letter from the 
Baron de Weissenstein. 

Stormount 
{St'drtled) 
The Baron de Weissenstein! 

Franklin 

{To Vergennes) 
The diplomatic name of the King of England. You 



1 84 FRANKLIN 

will recognize the King's handwriting and the royal 
seal. 



Stormount 
Monsieur, I demand to know how this letter came. 

Franklin 
By a special messenger. Fortunes of war, my lord. 
It offers me a place near the King's person, honors, a 
dukedom, if I will use my influence with America. 
England knows the prize she is losing. Would the 
King of England write such a letter if he did not see 
in America's future all that France sees? 

{He passes the letter to Vergennes. Vergennes and 
Girard look at it) 
I tell you, Messieurs, opportunity is knocking at the 
doors of France — opportunity clad in rags, but with 
the riches of an undeveloped continent behind her. 

Stormount 
{Shaken) 
A bankrupt nation 

Franklin 
{With power) 
No. The chief part of our nation has not gone 
bankrupt. I mean the American spirit, my lord. The 
spirit your Hessians have come to fear, the spirit your 
King would make terms with if he could ! 



FRANKLIN 185 

{While Franklin has been speaking the letter has 
been passed to Stormount, who reads it and 
looks stunned) 

De Vergennes 
What have }^ou to sa)^ to this letter, my lord ? 

Stormount 
It — it Is his Majesty's writing — it seems a genuine 
document. I — I beg to withdraw. 
{He exits J right) 

De Vergennes 
{To Franklin) 
Their Majesties will become impatient. Have you 
your duplicate of the treaty, Monsieur? 

Franklin 

{Showing it) 
It only lacks the signatures. 

De Vergennes 
We will announce your coming. 

{De Vergennes and Girard enter door at right, 
from which a bright light streams out. 
Franklin and Richard follow them. The 
door is closed. At the same time the doors 
€it upper right are opened and the crowd 
streams in again) 



1 86 FRANKLIN 

Mme. de Cleary 
They haven't come in yet! How disappointing! 
Count de Vergennes said that the moment the treaty 
was signed we should have a signal that no one could 
mistake. 

The Crowd 
Ah! 

(The door at right opens. Bright light streams 
out, A lackey stands at center background 
as if expecting a signal. Hidden music hursts 
into ''Yankee Doodle'* and simultaneously the 
lackey pulls the gold cord on the suspended 
draperies, which fall and fill the background 
with the flags of France and America, At 
the same time Franklin appears in the door- 
way with the Treaty in his hand. He moves 
toward left, the people bowing as he passes, 
the ladies looking at him and smiling, all save 
Mme. de Sarnac who drops her eyes. De 
Vergennes and Girard stand at door right, 
Richard follows Franklin. At left, for a 
moment, they find themselves alone. Letitia 
has slipped her arm through Richard^s and 
stands with him. Dr. Franklin reaches out 
his hand to her, drawing her to him) 

Richard 
(Still dazed) 
Dr. Franklin — that de Weissenstein letter — ^who 
brought it? 



FRANKLIN 187 

Franklin 
Lord Rockminster. 

Richard 
How wonderful that it should have come after that 
terrible financial statement! 

Franklin 
It didn't. 

Richard 
Didn't! 

Franklin 
Always date your letters. This particular letter is 
many years old. 

CURTAIN 



NOTES ON HISTORIC SOURCES 

As has been stated in the preface to this play, 
dramatic action has required a certain amount of re- 
arrangement of historic events. In a life as varied and 
crowded as that of Franklin — a life passed in three 
countries — it is impossible to touch on all the per- 
sonages and all the happenings. Therefore those must 
be selected which advance the stor}% for as Mr. A. B. 
Walkley of the London Times has recently said: "A 
play must before everj-thing else, be a play." 

The incident of the de Weissenstein letter has been 
placed earlier in Franklin's life than w^as actually 
the case. This astonishing document was thrown in 
Franklin's window while Franklin was at Passy. The 
reply he made to it was the reply he gives to Lord 
Rockminster in Act III. But such a letter, myste- 
riously thrown in a window, is an incident that has 
no particular dramatic import until there comes a clash 
of wills, and therefore it was found expedient for 
purposes of dramatic motivation to have this letter 
from the King sent by a messenger to whom Franklin 
could verbally reply, repudiating the bribe in words 
instead of in writing. Both James Parton and John 
Adams have a good deal to relate concerning this par- 
ticular document. Says Parton in his Life of Frank- 
lin, Vol. II.:— 

189 



190 FRANKLIN 

"On a morning in June a packet was thrown into 
a window at Passy, which proved to be a long letter 
addressed to Dr. Franklin, written in the English 
language . . . and signed Charles de Weissenstein. 
... as Franklin thought, a message from the King 
himself, certainly written with the King's knowledge 
and consent." 
>^ It offered "Offices, pensions for life, a peerage" if 

Franklin would desist in his efforts, and agree to 
the King's demands. 

In his diary, John Adams, in speaking of the de 
Weissenstein letter says: — Dr. Franklin "affirmed to 
me that he knew it came from the king: it could not 
have come from any other without the king's knowl- 
edge—" 

Franklin wittily repudiated the offer of a peerage, 
which the letter contained, declaring it to be "a tar- 
and-feather honor." 

As to Franklin's coup in the last act, all biographers 
of Franklin hint at a "secret document" which played 
an important part in the negotiations. Jay speaks of 
a "certain secret intercepted document" and in the 
Everyman edition of the Life and Writings of Ben- 
jamin Franklin occurs this passage, already quoted in 
the Preface. "It was then that Franklin quietly drew 
from his pocket a piece of paper stating an unexpected 
counter claim, so cogent and of such kind that, rather 
than face it or dispute it, the English commissioners 
gave up their point at once. . . . On the day follow- 



FRANKLIN 191 

ing this masterly stroke the preliminary treaty was 
signed, sealed and delivered." 

No biographer has ever said what this document 
was, and for the purposes of the play the author took 
the liberty of using the de Weissenstein letter as the 
document in question; for the secret negotiations were 
often given a fillip by what can only be termed the 
prankish side of Franklin's statesmanship, which 
cropped out again and again, even in the midst of 
serious affairs. Benjamin Waterhouse, an American 
physician, friend of Adams and of Jefferson, and kins- 
man of the Dr. John Fothergill who was one of 
Franklin's closest friends, relates with gusto the 
following incident in his Letters of Junius, page 
236. 

"Our own countryman. Dr. Franklin, practised a 
refined stroke of deception to benefit his country, by 
imposing a newspaper printed in his own house in 
France, for one printed in Boston which completely 
deceived the British Legation." 

"The anecdote is worth recording here." 

"While the doctor was soliciting the government of 
France to form an alliance offensive and defensive 
with the new States of America, the English Ambas- 
sador near that court sent a genuine Boston news- 
paper to the French minister containing an account of 
the defeat of the Americans with great loss, which 
statement was authentic, and retarded the negotiations. 
Franklin, who, as every one knows, was originally a 
printer, thereupon set to work in his own house, where 



192 FRANKLIN 

he always kept complete printing apparatus, and 
directly printed a counterfeit Boston newspaper, con- 
taining advertisements, anecdotes, speculations, and a 
little of everything common to our public prints of that 
day — together with an official account of a victory 
gained over the British troops, with loss of their can- 
non, etc. This was sent to the French Minister, and 
he sent it to Lord Stormount, the British Ambassador, 
who was confounded by the sight of it." 

Nor was this the first time that Franklin had so 
amused himself; for in the Everymaw edition of his 
life, already referred to, there is a description of one 
of his edicts. The Edict of the King of Prussia, on 
page 246. "This thing was cast in the form of an 
exciting piece of newspaper intelligence, enclosing a 
verbatim version of the alleged startling edict. Scores 
of well informed folk were deceived by it for some- 
thing more than a moment, and thousands were amused 
for at least a week." 

This goes to prove that Franklin was not always 
the solemn and stately figure of the copy books. He 
had a keen sense of humor, and no one enjoyed a 
practical joke more than he did, as loungers who 
leaned too often on the iron rails surrounding his 
house in Philadelphia learned to their discomfort, 
when he secretly charged the rails with electricity, 
and watched with amusement the inevitable result! 
There can be no estimate of the man which does not 
take into consideration this characteristically human 
side. 



NOTES ON STAGING 

With simplicity as the keynote of what is frequently 
termed "the new stage art" the intricacies of an 
elaborate production have been reduced to a minimum. 

At the present writing, when railroad fares make 
it almost impossible to send an elaborate production 
on the road, this simplification, this elimination of all 
detail, save that which is absolutely necessary, has be- 
come an art in itself, depending not on any "freak" 
ideas; but on actual monetary conditions. To people 
used to producing under such conditions, it will be 
seen at a glance that the play of Franklin can be 
staged with two sets: The first, a dark smoke-stained 
brown; the second, a neutral gray. By changing ac- 
cessories, such as window curtains, cushions, desks, 
etc., this gray becomes gray-and-blue for Act III; 
gray-and-rose for the first scene of Act IV; and gray- 
and-gold for the last scene, where the arras of cloth 
of gold (stenciled with fleur de lis) is merely gilded 
oilcloth serving to hide the French windows of a 
previous scene. 

In the theater, costumically speaking, the i8th 
century has been made unreal and fantastic through 
too much frippery and adornment. Men did not go 
about their business clad In suits of peach bloom satin, 
yet this is what many producers would have us believe ! 

193 



194 FRANKLIN 

Richard Mansfield was one of the first to give the 
1 8th century a realistic setting. His production of 
Bernard Shaw's The Devil's Disciple showed people 
of the Colonial period sensibly clothed in linens and 
homespuns. By emphasizing sober colors and plain 
materials Mansfield conveyed an atmosphere of mod- 
ernity, of actuality. His Devil's Disciple hardly seemed 
a costume play in the accepted sense of the word. 
Pictures of his production are still extant showing the 
dark-colored suits of the men, with plain white stocks, 
combined with dark waistcoats, ruffles of plain white 
linen, or no ruffles at all. Velvet, silk, satin and lace 
ruffles were for elaborate functions only. The women, 
for ordinary wear had simple dresses of material much 
like our challis. Powdered hair was for state occa- 
sions. Hair in its natural color graced every-day life. 
The changing of natural colored hair to a powdered 
wig, of plain linen ruffles to ruffles of lace, has an 
incalculable effect in i8th Century scenes. A touch 
here, a touch there, will instantly heighten or diminish 
the effect of a costume: will change a personality. 

So much for the realistic, every-day dress of the i8th 
century: When it came to elaborate functions, where 
the scene portrayed society en fete, that was an entirely 
different matter — witness the peri-wigging and cos- 
tume of the production of Monsieur Beaucaire. Yet a 
recent production of this play by a local stock company 
showed astounding ingenuity in the combining and 
re-combining of its elaborate costumes. As an example, 
one white satin over-dress appeared over three different 



FRANKLIN 19S 

petticoats, blue, pale rose and white-and-silver, mak- 
ing three different costumes; as for the men, the nim- 
bleness with which three complete suits of white satin, 
russet satin and black velvet were whipped into varying 
combinations, outfitting three different characters on 
three different occasions (nine combinations in all) 
left one amazed and half incredulous. To the eye of 
the average spectator it was an elaborate, multi-cos- 
tumed play : To the eye of the dramatically discerning 
it was a tour de force. 

Yet one does not need a local stock company to point 
the way: — Such productions as Bonds of Interest by 
the Theater Guild of New York have shown what 
could be done in the matter of magnificent costumes 
for small expenditure. In this play the cloaks and 
dresses of shimmering green-bronze, and red-bronze 
were none the less lovely because they were evolved 
by radiator bronze applied to such lustrous surfaces 
as oilcloth. Silver-and-blue and rose-and-gold bro- 
cades were obtained by stenciling inexpensive materials. 
Superb velvet cloaks in somber shades were metamor- 
phized from portiere plush, and even canton flannel. 
Indeed, with the use of the latter material Stuart 
Walker has wrought such marvels in some of his 
exotically costumed plays (noticeably those by Dun- 
sany) that it evinces a touch of the stage alchemist. 
This bespeaks an eye to both studio and box office. 
It is a method which can be applied to any century, 
and particularly to the i8th. 



DUPLICATION OF CHARACTERS 

The play of Franklin can be produced with a 
cast of fourteen characters if the following duplications 
are made: 

Mrs. Rogers Duchess de Cleary 

Greenib ; Mr. Bradley 

Samuel Keimer. Count de Vergennes 

Potts Parton 

Lord Rockminster Lord Stormount 

Sir William Keith Mr. Knox 

Greenie Mr. Murray 

Austin Richard Austin 



197 



BY CLAYTON HAMILTON 
Each book fully indexed. 12mo. 

PROBLEMS OF THE PLAYWRIGHT 

Building a Play Backward; Surprise in the Drama; The 
Troublesome Last Act; High Comedy in America; The George 
M. Cohan School of Playrights; Middle Class Opinion; Criti- 
cism and Creation in the Drama; Dramatic Talent and Theat- 
rical Talent; The Plays of Lord Dunsany; Romance and 
Realism in the Drama ; Scenic Settings in America ; The New 
Stagecraft; The Non-Commercial Drama; A Democratic Insur- 
rection in the Theatre; A Scheme for a Stock Company; What's 
Wrong with the American Drama, etc., etc. 

Prof. Brander Matthews, in the Bookman: . . .Mr, Hamilton and 
Mr. Archer — like Lessing and like Sarcey — have a broad background of 
culture. . . . They never stray into the dusty paths of pedantry. . . . 
Consistently interesting because it has the support of knowledge and 
the savour of individuality." 

STUDIES IN STAGECRAFT 

The New Art of Making Plays, The Pictorial Stage, The 
Modern Art of Stage Direction, A Plea for a New Type of 
Play, The Undramatic Drama, The Supernatural Drama, The^ 
Irish National Theatre, Where to Begin a Play, A New Defense 
of Melodrama, The Art of the Moving-Picture Play, The One- 
Act Play in America, Organizing an Audience, etc., etc. 

Nation: "Information, alertness, coolness, sanity and the command 
of a forceful and pointed English. ... A good book, in spite of 
all deductions." 

Prof. Archibald Henderson, in The Drama: "University excellent in 
quality. . . . Continually interesting in presentation . . . uniform for 
high excellence and elevated standards. ..." 

THE THEORY OF THE THEATRE 

What is a Play? — The Psychology of Theatre Audiences. — 
The Actor and the Dramatist. — Stage Conventions in Modern 
Times. — The Four Leading Types of Drama. — The Modern 
Social Drama, and Other Principles of Dramatic Criticism. — 
The Public and the Dramatist. — Dramatic Art and the Theatre 
Business. — Dramatic Literature and Theatric Journalism. — 
Pleasant and Unpleasant Plays.— Themes in the Theatre.— The 
Function of Imagination, etc., etc. 

Bookman: "Presents coherently a more substantial body of idea on 
the subject than perhaps elsewhere accessible. 

Boston Transcript: "At every moment of his discussion he has a 
firm grasp upon every phase of the subject." 

HENRY HOLT AND COMPANY 

PUBLISHERS NEW YORK 



SEEN ON THE STAGE by Clayton Hamilton 

The fourth of this noted critic's books on the con- 
temporary theatre covering a wide range of plays and 
authors including O'Neill, Dunsany, Ervine, Drinkwater, 
Shaw, Tolstoy, etc., etc. 

Brander Matthews in Neiu York Times: "His four volumes 
of collected dramatic criticisms are not unworthy to be set on 
the shelf by the side of Lemaitre's 'Impressions de Theatre' 
and Faguet's 'Propos de Theatre.' His preparation for dra- 
matic criticism is exceptionally ample. He adds also the other 
three qualifications which a critic ought to possess — insight and 
sympathy and disinterestedness. These plays are vital and 
vivid in Mr. Hamilton's pages." 



TOLD IN A CHINESE GARDEN AND 
OTHER PLAYS by Constance G. Wilcox 

For Outdoors or Indoors. They also include Pan 
Pipes, Four of a Kind, The Princess in The Fairy Tale 
and Mother Goose Garden 

Evening Post: ". . .A welcome contribution to the litera- 
ture of the Little Theatre. Whimsical, imaginative, pictorial. 
. . . An author of promising originality, taste and style. . . .'* 

The Drama: "... Treasures to the seeker for suitable 
dramas for the open . . . highly dramatic and fresh. ..." 



THE LIGHT OF THE WORLD 

by Guy Bolton and Geo. Middleton 

A drama showing what befell a Passion Player who 
tried to live as Christ might were he on earth today. 

Springfield Republican: "A real addition to the literature of 
our contemporary stage." 

San Francisco Chronicle: "Unusually interesting . . . written 
in a tone of reverent realism . . . full of dignity." 

HENRY HOLT AND COMPANY 

19 West 44TH Street New York 



BY CONSTANCE D'ARCY MACKAY 

THE LITTLE THEATRE IN THE UNITED STATES 

Illustrated. With index. Large 12mo. 

COSTUMES AND SCENERY FOR AMATEURS 

With numerous illustrations and index. Large 12mo. 

HOW TO PRODUCE CHILDREN'S PLAYS $1 35 



PLAYS 
THE BEAU OF BATH and Other One- Act Plays 

The Silver Lining, Ashes of Roses, Gretna Green, Counsel 
Retained. The Prince of Court Painters. Plays for amateurs 
and for Little Theatres. With illustrations after Reynolds, 
Humphrey and Romney. 

THE FOREST PRINCESS and Other Masques 

The Gift of Time (a Christmas Masque), A Masque of Con- 
servation. The Masque of Pomona, A Christmas Masque, The 
Sun Goddess, A Masque of Old Japan, The Revival of the 
Masque, supplemented. bi^j)apers on Costumes for Masques and 
Music for Masques. 

PATRIOTIC PLAYS AND OTHER PAGEANTS 

The Pageant of Patriotism and The Hawthorne Pageant. 
Both are given in versions for outdoor and for indoor per- 
formance, and arranged so that they can be split up into short 
plays. 

THE HOUSE OF THE HEART 

Short plays in verse for children of fourteen or younger: — 
The House of the Heart (Morality Play), The Enchanted Gar- 
den (Flower Play), A Little Pilgrim's Progress (Morality 
Play), A Pageant of Hours (to be given out of doors), On 
Christmas Eve, The Princess and thj? Pixies, The Christmas 
Quest (Miracle Play), etc. 

THE SILVER THREAD and Other Folk Plays 

The Silver Thread (Cornish), The Forest Spring (Italian), 
The Foam Maiden (Celtic), Troll Magic (Norwegian), The 
Three Wishes (French), A Brewing of Brains (English)^ 
Siegfried (German), The Snow Witch (Russian). 



HENRY HOLT AND COMPANY 

PUBLISHERS NEW YORK 



TWO BOOKS BY CONSTANCE D*ARCY MACKAY 



COSTUMES AND SCENERY FOR AMATEURS 

A Practical Working Handbook with over 70 illustrations and 
full index. 258 pp. i2rao. 

A book that has long been needed. It concludes chap- 
ters on Amateurs and the New Stage Art, Costumes, and 
Scenery, but consists mainly of simple outline designs for 
costumes for historical plays, particularly American 
Pageants, folk, fairy, and romantic plays — also of scenes, 
including interiors, exteriors, and a scheme for a Greek 
Theatre, all drawn to scale. Throughout the book color 
schemes, economy, and simplicity are kept constantly in 
view, and ingenious ways are given to adapt the same 
costumes or scenes to several different uses. 

HOW TO PRODUCE CHILDREN'S PLAYS 

The author is a recognized authority on the production 
of plays and pageants in the public schools, and combines 
enthusiastic sympathy with sound, practical instructions. 
She tells both how to inspire and care for the young actor, 
how to make costumes, properties, scenery, where to find 
designs for them, what music to use, etc., etc. She pre- 
faces it all with an interesting historical sketch of the 
plays-for-children movement, includes elaborate detailed 
analyses of performance-) of Browning's Pied Piper and 
Rosetti's Pageant of the Months, and concludes with 
numerous valuable analytical lists of plays for various 
grades and occasions. 

Neix) York Times Review: "It will be useful . . . practical 
advice." 

Magazine of General Federation of Women's Clubs: "There 
seems to be nothing she has forgotten to mention. Every club 
program chairman should have it." 



HENRY HOLT AND COMPANY 

PUBLISHERS NEW YORK 



